UNIVERSITY OF CINCINNATI
DATE: May 16, 2003
I, Aaron Michael Bodart , hereby submit this as part of the requirements for the degree of: Master in: Architecture It is entitled: Eclectic Architecture
Approved by: David Niland Barry Stedman
Eclectic Architecture
A thesis submitted to the
Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of
Master of Architecture in the School of Architecture of the College of Design, Architecture, Art and Planning
2003 by
Aaron Michael Bodart
B.S. Arch, University of Cincinnati, 2001
Committee Chair: David Niland Barry Stedman PhD Thesis abstract
Architecture subscribes to ideas of style, consistency and order to give it “legitimacy and legibility”. Dramatic and enriched space is the goal. Adherence to these principles is not always the most appropriate response. Any number of solutions, utilizing different shapes, sizes and configurations are possible. However, clear, contiguous relationships must be drawn between components. By utilizing the perception of shape, color, pattern and light an understandable, geometrically eclectic composition of forms can be created.
The design adds to the existing Shedd aquarium in Chicago, Illinois, creating spatial elements under, in and over the lake. New display and information methodologies are explored.
The addition incorporates aquatic life from Lake Victoria and East Central Africa. It surrounds visitors with new, immersive forms of display and information. The auditorium is specifically designed for interactions with Lake Michigan storms. The full force of Mother Nature is on display.
Thesis Table of Contents
I. Table of Contents …………………………………...... 1 II. List of Illustrations…..………………………………2-4 III. Introduction …………………………………………5-6 IV. Thesis ………………………………………………7-20 A. fragmented architecture B. theories on perception C. psychological interpretations D. phenomenology V. Thesis Precedents ……………………………….21-23 VI. Site Evaluation ……………………………...... 24-26 A. history B. description VII. Programmatic Precedents A. monterey bay aquarium …………………27-28 B. shedd aquarium ………………………….29-31 C. newport aquarium ……………………….32-34 VIII. Program ………………………………………….….35 A. space planning B. sq. footage IX. Project A. how spaces feel ………………………....36-38 B. relation to thesis ...... 39-46 C. building drawings………………………...47-49 X. Annotated Bibliography ………………...... ……50-54
1 List of Illustrations thesis and design
Figure 0.1 Villa Saboya. Culturegenderal.net. Arquitectura. April 24, 2003. Available at www.culturageneral. net/arquitectura/arquitec/jpg/saboya.jpg.
Figure 0.2 Photograph by author
Figure 0.3 Illustration by David Heald, Frank O. Gehry, Kurt W. Forster (Germany, 1999) p. 104.
Figure 0.4 Illustration by Kurt W. Forster, Frank O. Gehry, Kurt W. Forster (Germany, 1999) p. 107.
Figure 0.5 Illustration by Peter Eisenman, Diagram Diaries (New York, 1999) p. 54.
Figure 0.6 Illustration by Heinz Muller, Le Corbusier (London, 1987) p. 64.
Figure 0.7 Ronchamp. Fondation Le Corbusier. Projects. April 24, 2003. Available at www.fondationlecorbusier. asso.fr/ronchamp.htm.
Figure 0.8 Illustration by Jussi Tiainen, Heikkinen + Komonen (New York, 2000) p. 76.
Figure 0.9 Illustration by Jussi Tiainen, Heikkinen + Komonen (New York, 2000) p. 78.
Figure 0.10 Illustration by Jussi Tiainen, Architectural Record (New York, 2003) p. 116.
Figure 0.11 Illustration by author
Figure 0.12 Illustration by author
Figure 0.13 Psychology of Perception (Cambridge, 1979) p. 342.
Figure 0.14 Psychology of Perception (Cambridge, 1979) p. 341.
Figure 0.15 Psychology of Perception (Cambridge, 1979) p. 341.
Figure 0.16 Illustration by author
Figure 0.17 Bottle_04_color. Parfums de Wakaba. Helmut Lang. April 24, 2003. www.wakaba.co.jp/product. html.
Figure 0.18 Angel Cologne. Hampshires of Dorking. Hampshires Collectables. April 24, 2003. Available at www.hampshires.co.uk/acatalog/Hampshires_Collectables_4.htm.
Figure 0.19 Perfume. Cardiff University. Memorabilia. April 24, 2003. Available at www.e-shop.cf.ac.uk /alumni/acatalog/Cardiff_University_....
Figure 0.20 Illustration by author
Figure 0.21 Illustration by author
Figure 0.22 Illustration by author
Figure 0.23 Illustration by author
2 Figure 0.24 Illustration by author
Figure 0.25 Illustration by author
Figure 0.26 Illustration by author
Figure 0.27 Illustration by author
Figure 0.28 Illustration by author
Figure 0.29 Illustration by author
Figure 0.30 Img1. American Society of Cinematographers. Black and White in Color. April 24, 2003. Available at www.theasc.com/protect/nov98/ pleasantville/main.htm.
Figure 0.31 Filmo_pleasantville. La presse au cinema. Film. April 24, 2003. Available at www.presse.ac- versailles.fr/Filmo/ filmo_pleasantville.htm.
Figure 0.32 Psychology of Perception (Cambridge, 1979) p. 205.
Figure 0.33 Discobolos_large. Sculpture Gallery. Roman. April 30, 2003. Available at www.sculpturegallery. com/thirteen/discobolos_large.jpg.
Figure 0.34 Illustration by Katcuhisa Kida, Architectural Record (New York, 2002) p. 80.
Figure 0.35 Illustration by Benny Chan/ Fotoworks, Architectural Record (New York, 2002) p. 131.
Figure 0.36 Illustration by Roland Halbe, Architectural Record (New York, 2002) p. 103.
Figure 0.37 Illustration by Peter Aaron/Esto, Architectural Record (New York, 2002) p. 135.
Figure 0.38 Illustration by author
Figure 0.39 Illustration by Peter Aaron/Esto, Architectural Record (New York, 2002) p. 134.
Figure 0.40 Illustration by Sharon Risedorph, Architectural Record (New York, 2002) p. 103.
Figure 0.41 Illustration by author
Figure 0.42 Illustration by Sharon Risedorph, Architectural Record (New York, 2002) p. 106.
Figure 0.43 Illustration by Eugeni Pons, Architectural Record (New York, 2002) p. 94.
Figure 0.44 Illustration by author
Figure 0.45 Illustration by Eugeni Pons, Architectural Record (New York, 2002) p. 96.
Figure 0.46 Illustration by Randy Wilder, Monterey Bay Aquarium (Monterey Bay, 1999).
Figure 0.47 Illustration by author
Figure 0.48 Newport Aquarium. GBBN Architects. Portfolio. April 24, 2003. Available at www.gbbn.com/ index2.htm.
Figure 0.49 Illustration by author
3 Figure 0.50 Illustration by author
Figure 0.51 Illustration by author
Figure 0.52 Illustration by author
Figure 0.53 Illustration by author
Figure 0.54 Illustration by author
Figure 0.55 Illustration by author
Figure 0.56 Illustration by Tomohiro Sakashita/GA Phtographers, Architectural Record (New York, 2002) p. 94.
Figure 0.57 Illustration by author
Figure 0.58 Illustration by author
Figure 0.59 Illustration by author
Figure 0.60 Illustration by author
Figure 0.61 Illustration by author
Figure 0.62 Illustration by author
Figure 0.63 Illustration by author
4 Thesis Introduction
Means and methodologies for architectural practice exist in many forms, none any less compelling or interesting, merely different. Every Architect develops his or her own ideas on the practice of design and continually refines those ideas throughout the course of his or her career. Architecture is not a stagnant practice where everything is eventually learned only to be rehashed and repackaged as the same interpretation of an age old question. As time changes, new solutions manifest themselves. No one way is the perfect way for approaching every project. The adaptive abilities of the architect: his or her understanding of the world and what it needs and desires determines his or her continued success. The idea that one design methodology can be the ruling or guiding force for the profession died long ago. An exchange of eclectic ideas and orders is possible. Architecture is very often based on architectural history; precedent. In this respect, all past architectural work is applicable material, moldable information for the creation of an eclectic design. Here, the perception of shape, color, pattern and light is used to compose a series of geometrically eclectic forms.
An understanding of perception can be crucial in creating recognizable relationships between eclectic geometries. One shape is perceived as different from another because of prototypical cues embedded in the subconscious. This labeling carries certain prototypical information which governs cognitive perception. A square, circle and triangle each have different criteria which produce predictable reactions, different from one another. This learned criteria deals with how we process information through a comparison to our remembered experiences. It is difficult to overcome because of the psychological baggage often attached to each shape. However, it should be understood that not every scenario produces the same effect. I believe a better understanding of the mind’s perceptive qualities can help architects design more powerful spaces.
The perception of shape, color, pattern and light often defines the character and feel of a space. A manipulation of these characteristics can produce predictable and controllable reactions. Juxtaposing “different” geometric shapes can create tension and drama. For example, a square and triangle each have very different implications related to form. The square feels dull and straightforward, while the triangle implies action, agitation and conflict.1 The interest arises from the architect’s ability to create an understandable relationship between the two geometries. A connection can be established, unifying the two seemingly disparate objects. For example, two completely different shapes can be related, in that one seems to envelop the other through its physical orientation. Each form is understood as different, but the relationship only makes sense when both objects are present. A binary relationship exists where each object is only definable through its relationship to an
1 Shape. 21 October 2002
5 established “other”. Each reacts to and qualifies the other, no matter the differences or consistencies of the two objects. Hence, a geometrically eclectic composition is possible as long as strong relationships can be generated, tying the composition together. Consistency is irrelevant if a strong perceptual relationship is established to override inconsistencies. By understanding the psychological perception of shape, color, pattern and light an eclectic, geometric composition can be successfully composed.
This thesis will begin by de-emphasizing the importance of consistency and style in the design process. As Picasso once said, “he was never committed to a single style just to that which would express his feelings”.2 It will also discuss the importance of architectural precedent as applicable material for design, no matter the combination. Next, it will lay out pertinent rules for understanding human perception based on psychological analysis. It will discuss various theories dealing with object recognition, geometric understanding, and the Gestalt principles of visual organization. Phenomenology will be introduced as the basis by which we first begin to understand our surroundings, through our experience of “home”. Finally, the investigation will discuss the interpretation of perceptual characteristics as related to the establishment of an eclectic, geometric architecture.
2 Hans L.C. Jaffe, Picasso (New York: Harry N. Abrams, Inc. Publishers, 1964), 16.
6 Thesis history and description
Architecture is fractured into different methods and styles; Modernism, Classicism, and Sculptural design to mention a few. Each trend has peaked and plummeted in a cyclical fashion over time (figures 0.1, 0.2, 0.3). For example, as the tenets of Modernism came into question, a Post-Modernist theory attempted to alleviate the perceived inconsistencies. What is “hot” now will not be tomorrow. Theories become flawed, only to be replaced by other possibilities. Picasso, one of the father’s of cubism said, “he was never committed to a single style just to that which would express his feelings”.3 In much the same way, “Architecture must question and rebel against the zeitgeist, spirit of the age, in order to grow”.4 Questioning Architectural history allows for re- interpretation, further investigation and development of the profession. This process has produced innumerable methods for attacking design problems. For example, Frank Gehry designs through a sculptural media, dedicated to the maximum impact on the audience (figure 0.4).5 On the other hand, Peter Eisenman relies on a tracing of the history, site and context to produce architecture (figure 0.5).6 Neither methodology Figures 0.1, 0.2, 0.3 is better than the other, just different.
Exploring the process of design has produced various combinations of spatial size, shape and treatment. Each is unique, subscribing to various schools of thought and interpretations of the human condition.
Figure 0.4 For example, Le Corbusier’s interpretation produced the “modular”, a
proportional ordering system derived from the dimensions of the human body. It became one generator for his work and philosophy.7 Every architect inherently develops and refines his or her own style; a design method specific to that person’s interests and desires for critical work. That methodology is constantly scrutinized and re-investigated in an Figure 0.5
3 Hans L.C. Jaffe, Picasso, (New York: Harry N. Abrams, Inc. Publishers, 1964), 16. 4 Peter Eisenman, Diagram Diaries, (New York: Universe Publishing, 1999), 37. 5 Cristina Bechtler, Frank O. Gehry Kurt W. Forster, (Cantz Verlag, 1999), 14. 6 Peter Eisenman, Diagram Diaries, (New York: Universe Publishing, 1999), 37. 7 Peter Blake, The Master Builders, (New York: Alfred A. Knopf, 1960), 32.
7 attempt at unattainable perfection. For example, Le Corbusier discovered and eventually implemented an ordering system based on the natural environment to enrich his original machine aesthetic (figures 0.6, 0.7)8. In this respect, his philosophy was continuously growing toward maturation. Styles and methods should be understood as merely additional layers in an eclectic design profession. Architecture is often based on the accumulation of rhetoric and precedent. It involves “knowing what has gone before and being able to change that history”.9 Re-interpreting past work can provide a valuable map for new exploration. Design does not occur in a vacuum and few people are so lucky as to generate something completely new and innovative. It therefore stands to reason that a design methodology is often the Figure 0.6, 0.7 product of precedent, a series of layers built through trial and error, preference and predilection. Architecture is then a process of component selection wholly based on the sifting of its own layers and history- it’s Interiority. That is, the theoretical examination of itself (its discourse).10 Through this study “different” design strategies and formal characteristics can be applied to a single project. A combination of this derived material is appropriately valid design because of its historic basis.
The architecture of Heikkinen + Komonen uses the juxtaposition of “difference” as viable design solutions (figures 0.8, 0.9). A language of rigor against casualness, stasis against movement, and form against image enriches their projects. One language becomes stronger because of the presence of the other counteracting and highlighting the obvious differences. For example, using contemporary materials to clad ancient forms can be a dramatic counterpoint.11 The idea of balance through contrast, point versus counterpoint is a powerful form generator.12 Necessary cohesion is achieved through a simple means of Figure 0.8, 0.9 illusion. “The art of architecture is to use momentary illusion for
8 Peter Blake, The Master Builders, (New York: Alfred A. Knopf, 1960), 33. 9 Peter Eisenman, Diagram Diaries, (New York: Universe Publishing, 1999), 37. 10 Peter Eisenman, Diagram Diaries, (New York: Universe Publishing, 1999), 37. 11 William Morgan, Heikkinen and Komonen, (New York: The Monacelli Press, 2000), 18. 12 William Morgan, Heikkinen and Komonen, (New York: The Monacelli Press, 2000), 13.
8 reinforcing the experience of reality”.13 For example, a white square will be perceived as even whiter if it is set next to a black square. The difference becomes more dramatic and significant when the mind is given a basis for comparison.14 The data can be easily processed by the brain’s receptors.15 From an architectural standpoint, the fluctuation of light through water creates an illusion of movement. Here, the space feels energized (figure 0.10). Often, an evenly lit room seems tiresome because the difference in material qualities is lost in the sameness of the illumination.16
I believe visual and stylistic difference can be alleviated through a Figure 0.10 manipulation of perception. Architecture already projects the designer’s intended emotional and spiritual qualities into spatial construction. The next step is creating compositions which compel the viewer toward specific reactions. “Architecture is the masterly, correct and magnificent play of mass brought together in light”.17 I believe “light” refers to the Architect’s ability to establish perceived connections and relationships between different materials, forms, and scales. Eclecticism refers to a composition of elements pulled from a variety of sources.18 In this instance, eclecticism deals with a number of “different” geometric forms, each generating specific, predictable reactions. They are composed utilizing an understanding of the psychological perception of shape, color, pattern and light to create visual legibility.
Before objects can be composed we must first understand “the process of organization active in perception, which somehow does justice to the organization outside in the physical world”.19 How we recognize and categorize stimuli affects our ability to perceive. The shear amount of information processed by the human brain is amazing. By all accounts
13 William Morgan, Heikkinen and Komonen, (New York: The Monacelli Press, 2000), 15. 14 William R. Uttal, A Behaviorist looks at Form Recognition, (Mahwah, New Jersey: Lawrence Erlbum Associates, Publishers, 2002), 141. 15 Edward C. Carterette, and Morton P. Friedman, Handbook of Perception, (New York: Academic Press, 1975), 7. 16 Kunsthaus Bregenz, Peter Zumthor, (Hatje, 1999), 53. 17 Peter Blake, The Master Builders, (New York: Alfred A. Knopf, 1960), 31. 18 Merriam-Webster Online. 25 March 2003
9 it should be overwhelmed by the number of calculations required to ascertain meaning in a world of otherwise chaotic events and images. The mind’s ability to recognize objects has been thoroughly studied and a number of hypotheses proposed. “Object recognition is the activation in memory of a representation of a stimulus class from an image projected by an object to the retina.”20 This memory is based on our knowledge of the visual world, accessed through a basic level, referring to common visual cues we are aware of instinctively. Each theory on object recognition identifies the importance of perception and geometry in the comparative process that produces recognition. Figure 0.11 The “Face Recognition System” filters stimuli in order to process visual information. A column of filters, tuned to various scales and orientations is applied to the image. Certain stimuli “activate different filters to various extents.”21 After the initial scan, each activated filter is matched against a series of stored filters to produce the best recognition (figure 0.11). System of Recognition: 1- image is sifted with a series of filters 2- stimuli activate filters 3- each activated filter is matched against stored filters 4- recognition is produced
The next theory is Geon-based. It assumes that an object is represented by a simple arrangement of viewpoint-invariant, volumetric primitives known as geons. A Geon is defined by a set of binary and trinary values perceived throughout an image. Twenty-four geons have been identified; each easily distinguishable from one another and highly resistant to visual noise and other distractions. Initially, the mind divides the image into regions, representing each with a designated geon. An object is then defined by relating geons to one another. An object should need no more than three geons to be identifiable. System of Recognition: 1- image broken into regions
20 Dawson Home Page. 3 December 2002
10 2- each region is defined with a geon 3- each geon is then compared and related to one another to form an interpretation22
Finally, Lowe’s SCERPO model breaks the image into parts, representing the pieces and comparing each to a store of previously learned knowledge. Representation begins with a deconstruction of the image into sets of geometric components. Each component is then placed into a list of coded features. The list is compared against a set of similarly coded patterns or templates based on memories of past experience. An unrecognized object is identified through conceptualization and interpolation of significant criteria. This criterion is compared and evaluated against the coded list to produce the appropriate interpretation. System of Recognition: 1- give it image 2- detects edges 3- groups edges “according to properties of co-linearity, parallelism and codetermination” 4- a preliminary match between features and stored models is attempted 5- a preliminary match is used to guide the search for new features in a top-down fashion 23
Once a compositional object has been recognized it can be grouped in a number of different ways. It can be seen as an outline of an object, as part of a different adjacent object or as a gap between objects. In one instance the object will dominate, and in another, the negative space will be the dominant.24 This hierarchy of groups defines the figure-ground association. It is a binary relationship involving two distinct parts. “We never see figures (or swatches) alone, only dynamic “figure-ground” relationships”.25 Neither could exist without the other or the effect would be lost and the interpretation skewed. A figure is defined by its closure, compactness, density and internal articulation. Ground is the lack of Figures 0.12, 0.13, 0.14, 0.15
22 Dawson Home Page. 3 December 2002
11 these qualities. It surrounds the figure, creating a common relationship to all that it touches. Therefore, the dynamic qualities of the figure become apparent. A reciprocal relationship exists in which an area of Figure 0.16 reference is qualified by and yet qualifies the other objects referred to it.26 A figure and the ground can be themselves and their opposite depending on the properties of the composition (figures 0.12, 0.13, 0.14, 0.15). Scale has a direct correlation to the perceived relationship. For example, a very large “figure” can be understood as the “ground”.
Our ability to recognize these relationships is directly related to our development of a basic comprehension of geometric shapes. It allows us to dissect and analyze the surrounding world and its structure (figure 0.16). Shape often provides the definable features necessary for recognition. Even the most basic geometric form carries substantial perceptual baggage. A square shape is dull, straight forward, honest, stable, and less natural than a circle. A circle is seen as a continuous whole, comforting and relaxing. In the same manner, a curvy object is calm, assured, relaxed and optimistic. Finally a triangle is associated with action, agitation, conflict, tension and aspiration. The sharpness reminds us of danger, pain, and antagonism. This geometric relationship clearly defines a continuum of extremes (square and triangle) mediated by a linking element (circle). The figure’s perceived notions can be exploited. For example, a perfume and cologne bottle is shaped in such a way as to target specific consumer groups through advertising and product design. Cologne is usually packaged in large, square bottles. Male strength, honesty and reliability are implied. Conversely, a perfume bottle is often smooth and curvilinear, implying female warmth and security. A triangular bottle targets women seeking risk, challenge and excitement (figures 0.17, 0.18, 0.19).27
Similar to geometric perception, Gestalt theory is based on accepted notions of fact and predictable reactions. The human brain is subject to Figures 0.17, 0.18, 0.19 assumptions of fact and truth, things it wants to believe and finds difficult
26 Colin Rowe, As I Was Saying: Recollections and Miscellaneous Essays, (Cambridge: Massachusetts Institute of Technology, 1996), 125. 27 Shape. 21 October 2002
12 to disregard. Our subconscious prefers the world organized into some semblance of order and structure. It will attempt to provide order if none is present. In this way, the mind makes sense of “chaos”. This ability to interpret object-related fact is the basis for the Gestalt Principles of Visual Organization. Each suggests that the world does not simply exist but is constructed by our own interpretations, through the process of perception. - The Principle of Proximity- features which are close together Figure 0.20 are associated (figure 0.20),
- The Principle of Perceptual Organization (similarity) - features that look similar are associated (figure 0.21).
- The Principle of Good Continuity- smooth continuity is preferred to abrupt changes (figure 0.22).
- The Principle of Perceptual Organization- interpretations which produce “closed” rather than “open” figures are favored (figure 0.23).
- The Principle of Perceptual Organization (smallness) - Figure 0.21 smaller areas tend to be seen as figures against a larger background (figure 0.24).
- The Principle of Symmetry- symmetrical areas tend to be seen as figures against asymmetrical backgrounds (figure 0.25)
- The Principle of Surroundedness- areas which can be seen as surrounded by others tend to be perceived as figures (figure 0.26).
Figure 0.22 - The Principle of Pragnanz- the simplest and most stable interpretations are favored28 Gestalt theory simply identifies the predictable way we tend to commonly organize specific perceptual information.
Next, a composition’s characteristics can be studied to get a better Figure 0.23 understanding of the makeup of images and objects. Each can be broken down into components which are then compared and
28 Daniel Chandler, Visual Perception 6: Gestalt Principles of Visual Organization. July 1997. University of Wales. 21 October 2002
13 interpreted. Each meaning is widely varying and often dependent on contextual clues and compositional features.
A drawing can be examined on the basis of dot, line and direction. Each Figure 0.24 feature is unable to exist without the presence of the others. For example, a line by definition is a geometric element generated by moving a point in a direction.29
The dot is the smallest, most basic form of visual communication. Its placement can draw attention, both harmonizing and stressful. Placing it on axis creates a unifying element; however, when moved off center action and motion is developed. It produces a counter-weight, Figure 0.25 disrupting the balance of the work (figure 0.27).
A line provides movement and action since it defines a dot’s path across the visual plane. Its orientation can create disruptive or harmonizing
Figure 0.26 effects as well. Because the mind processes information through vertical and horizontal means an oblique line implies movement and instability. This stress draws attention, signifying its importance as dominant information. On the other hand, a horizontal line will ground and stabilize an image or object.
Direction clarifies how the mind reads and interprets a composition. It is the product of line, shape, scale, dimension and motion. Without a Figure 0.27 strong sense of directionality chaos can result and the work can become sporadic and difficult to understand. Direction can have specific connotations. For example, a left to right incline is read as graph-like: indicating inferiority in the lower left and superiority in the upper right.
Figure 0.28 Conversely, a left to right decline feels unstable and negative because of its association with “downhill” movement. A curved line falls somewhere in between: unstable, yet reassuring and safe because of its association to the circle. The circle is a complete, all-encompassing object with no directionality. It functions as a visual trap. Anything placed within the circle will be given special significance (figure 0.28). A triangle is also a
29 Merriam-Webster Online. 25 March 2003
14 visual frame, but provides dynamic motion. It is used to create points of interest throughout a composition allowing the viewer’s eye to travel around the work without lingering on one area for too long.30
Texture, hue, saturation and value provide contextual clues, related to
Figure 0.29 color interpretation and perception, which allow our minds to create more precise interpretations of images and objects.
Texture deals with surface variations in physical features, value and hue. Material smoothness is implied when very few visual interruptions exist. A steady, even illumination can hide irregularities, giving the illusion of continuity. Without the play of shade and shadow the mind is convinced of the material’s smoothness.
Hue refers to an object’s color. It can create and change moods, or draw attention to specific areas. A warm color surrounded by an otherwise cool composition will draw immediate attention because of the perceived difference (figure 0.29). When used properly, hue can Figures 0.30 heighten the impact of an object or image by complimenting its feelings and emotions. The movie Pleasantville, for example, portrayed issues of segregation through literal color differences. The emotional charge came from the struggle of “black and white” and “colored” citizens (figure 0.30). Color has specifically attached emotional baggage. A red hue tends to evoke feelings of anger, passion, pain and extravagance. Blue can be cool and passive, implying truth and honesty. Yellow fits in between, often feeling warm and cheerful like the sun. White and black hues are perceived as polar opposites. White often represents the purity and innocence associated with newly fallen snow, while black has a direct link to evil and death. A grayscale image carries different connotations than a colored one. It is more abstract and requires the viewer to identify specific objects in terms of shape and value rather than hue.
30 Nargis Kasenova, Misty Ruskshan, Misha Kozareff, The On-Line Visual Literacy Project.. 1994. Pomona College. 21 October 2002
15 Saturation enhances the vibrancy and feeling of a color. Such an image seems closer to us, more emotionally attractive and aggressive. It will pull forward and highlight itself. An unsaturated or non-color (gray, black and white) will fade or fall into the background (figure 0.31). It often feels more depressing, dull and serene when compared to its saturated counterpart. Saturated color is used to represent the future, while unsaturated color is associated with the past.
Value determines how light or dark a color appears. It is controlled by the amount of white or black added to a hue. Value, hue and saturation for the basic components of the color spectrum. Each impacts the Figure 0.31 psychological characteristics of a color and the composition in which it is seen.31
The physical attributes of images and objects are a product of scale, dimension and motion. They provide additional layers of readability associated with shape and form.
Scale refers to a size relationship. It can be exploited to create depth and perspective. For example, as an object approaches the horizon line Figure 0.32 it diminishes in size, receding into the distance. This phenomenon is known as “Dimension” and occurs when perspectival lines converge on the horizon at the vanishing point (figure 0.32).
Motion creates action. Here, it refers to the realistic portrayal of movement in a static media. A number of artistic methods attempt to capture this dynamic quality. Blurring implies motion caught in a frozen moment of time and contrapposto involves the twisting or shifting of weight to imply motion in a static object (figure 0.33). In addition, some concepts describe our understanding of motion as it takes place over time. “Persistence of vision” describes a psychological phenomenon where the eye briefly retains an afterimage of recorded information until Figure 0.33 the next image becomes visible; allowing the viewer to connect
31 Nargis Kasenova, Misty Ruskshan, Misha Kozareff, The On-Line Visual Literacy Project.. 1994. Pomona College. 21 October 2002
16 seemingly disparate images into a legible timeline of events. Next, the “phi effect” describes how the mind interpolates a flip book. The subconscious connects the series of stills by processing the information with an understanding of the laws of “real-world” motion. Therefore, the brain understands that the next image follows a logical progression based on the principles of movement.
Finally, time, materiality and environmental factors each compel significant emotional responses related to space. Lighting quality can change over the course of a day. As the sun sweeps across the sky, past the horizon, a bright and sunny room becomes dark. Space Figure 0.34 functions differently during both daylight and nighttime hours. In addition, seasonal changes can alter a space’s character. A bright and sunny summer day is often vibrantly colored. However, as summer fades into fall, the day becomes shorter and the night grows long. A cold month often produces an abyss of white constancy. As the weather deteriorates and our contact with the outside becomes less comfortable the interior accumulates special significance. It should be a Figure 0.35 sanctuary against a four-month, claustrophobic existence. The emotional character, related to materiality, can make it a comfortable living environment.
Material quality can define a space’s mood and feel. For example, a house with floor to ceiling glazing has a different edge condition than one with small windows. There is a greater blurring of what is “in” and what is “out”. A situation could arise in which the occupant’s comfort level becomes an issue, based on his or her ability to see and be seen. Visibility could become uncomfortable, depending on the situation and
Figure 0.36 the person. When the barrier between the public and private realm is removed the feeling of privacy and protection can fade. A material has specific connotations related to its use in construction and design.
Glass has characteristics of translucency, transparency, and reflectivity. Its perceived brittleness and light weight have far different connotations than other materials with greater properties of strength and opacity. (figure 0.34).
17
Different woods can produce a number of tactile reactions. Their multitude of colors and densities affect such reactions. Some wood species appear warm in color, seeming inviting and relaxing. However, other types are very dark and hard. The color and strength can produce very different perceptions (figure 0.35).
Stone’s characteristics are related to strength, heaviness, and a cool touch. Its solidity and density can provide protection and solitude. However, its cold feel is uninviting and often uncomfortable (figure 0.36).
Material quality can clearly define the character of a space. In Bachelard’s example of the “basement-attic condition” two similar spaces project different feelings based on the materials. The basement is a wash of cold, lonely, subterranean images. The subconscious lingers on irrational thoughts of an evil nature, often associated with the horrific criminal activity seen on television. Stories of dark, dangerous cellars are widespread. On the other hand, the attic, though often dark and secluded as well, projects itself differently. Its elevated position in the house and light-colored wood framing (soft and warm) contradict stereotypical ideas of fear often associated with dark, secluded places. Each prototype is merely a learned reaction, not consistent with every spatial application, but still considered fact by the subconscious.32
A prototype refers to an original model on which something is patterned.33 The model is often based on instinctive notions learned through everyday experience. The mind’s specific, predictable reaction to certain stimuli is often formed during the early stages of human development. A child begins to explore his or her surrounding landscape, forming distinct impressions. Each notion is based on and related to his or her very first environment: “home”. Phenomenological thought stems from an understanding that a human invariably judges his
32 Gaston Bachelard, The Poetics of Space (extract) in Neil Leach, ed., Rethinking Architecture: a reader in cultural theory, (London: Routledge, 1997), 176. 33 Merriam-Webster Online. 25 March 2003
18 or her surroundings against a learned set of rules and guidelines.34 He or she establishes a “home place” based on a need for comfort, protection and an understanding of the outside world. “Home” is the first physical environment he or she becomes aware of and the site of his or her very first and most important experiences. It informs interpretations of other life experiences; structures awareness, establishes the roots of being, and defines the boundaries of his or her life condition.
The interpretation of events and spaces is a product of learning about the outside world through a comparison to our home. We associate meaning and emotions with objects based on cumulative, past knowledge which has created a highly probable scenario of “reality”. Each prototype can be illusionary, holding no real basis in current truth. After the womb, our house becomes the most important spatial experience in our life. It constitutes a psychological bunker of warmth, serenity and security. Every event holds special significance. We can look into the surrounding world from the convenience of our window, watching public interaction from the confines of our secluded, comfortable environment. This gateway provides passage to, comparison of and protection from the outside environment. Every aspect of living within that structure becomes important in establishing who we are and how we react to outside stimuli. When we change dwellings we retain collected baggage, transferring it to our new habitat. Bachelard writes, “we bring our lairs with us”.35 Information developed in the original “home” serves as the basis for our opinion of other structures.
The principles and theories outlined in this paper provide a basis for understanding the intricacies of human perception. Through the manipulation of each, perception can be better predicted and augmented so as to create recognizable relationships between eclectic
34 William R. Uttal, A Behaviorist looks at Form Recognition, (Mahwah, New Jersey: Lawrence Erlbum Associates, Publishers, 2002), 10. 35 Gaston Bachelard, The Poetics of Space (extract) in Neil Leach, ed., Rethinking Architecture: a reader in cultural theory, (London: Routledge, 1997), 174.
19 geometries. A composition is developed which arranges geometric forms, of “different” implications, based on the perception of shape color, pattern and light. Visual relation and legibility is the goal. In this way, very different characteristics can be combined so as to compel the subconscious into “factual” beliefs of cohesiveness. For example, closely spaced red and blue lines appear as a single purple line when seen from a distance.36 The two distinctly “different” colors are combined by the mind’s eye. As in the example, an interpretation based on visual information does not always involve “fact”. The purple color does not really exist. The mind simply believes it does, until the proximity changes and the interpretation is modified. Therefore, illusion can be a powerful tool for combining eclectic forms and geometries. Illusion is a deceptive or misleading perception of something objectively existing in such a way as to cause misinterpretation of its actual nature.37 It is an “unreality” yet to be discovered. Illusion can be as real as anything else until the point at which it is proven false. For example, a simple mirage caused by the play of sunlight on the highway, creates an illusion of water drifting across the asphalt. The mind is fooled until its proximity is such that the mirage disappears.
Since our perception often depends on previously experienced phenomenon for recognition we can be forced into believing untruths or illusions. If an illusionary relationship is never discovered to be so, has it then become real? Its plausibility is based on a number of misconceptions, but the inability to prove any false creates a certain validity. The creation of illusion opens a world of possibilities. A relationship can be established if the mind believes and our “experience” knowledge is unable to find fallibility. A composition of “different” geometries can become understood as cohesive. By dissolving perceived “difference”; through the process of design, components can be arranged to create a composition of legibility. Adherence to the principles of design, involving the compatibility of color, shape, pattern and light can be undermined.
36 Roy R. Behrens, Art, Design and Gestalt Theory. MIT Press. 9 October 2002
20
Thesis precedents 01
South Court NY Public Library NY, New York
The project renovates an interior courtyard, enclosing and transforming it to create new spaces for the growing library. The new construction is merely inserted into the old. The addition makes no effort to mimic the past, existing design. Instead, it creates something new. The beauty of the project is the continuity achieved by the architect in uniting old and new styles. Each floor plate aligns throughout the existing and new structure, while a clear distinction is maintained between the old façade and the newly enclosed court. A skylight overhead and an aluminum cove, lining the edge of the floor plate, illuminate the interstitial space and walls. Also, the building’s original rubble footing is used as a design element within the new space, linking the past and present. The architect intended to preserve the original structure’s integrity while creating a new, clean aesthetic.38 Integration between “different” eras of design is successfully maintained and highlighted.
Figures 0.37, 0.38, 0.39
38 Raul A. Barreneche. “Davis Brody Bond gives new life to a Beaux-Arts grande dame, with the Modern new south court of the New York Public Library.” Architectural Record, November 2002, 134-141.
21
Thesis precedents 02
Howard Street House San Francisco, CA
The project sets up a distinct game between the public and private realm. What is understood as exterior and interior? How is each space portrayed with distinctly different characteristics, through one construction? On the exterior, corten steel creates a strong, impenetrable barrier between the street and residents within. The ephemeral qualities of light and glass are displayed on the interior.39 The dual action of this façade generates a unique dialog where the public is shut off from the inner workings of the house, but the owner is given a dynamic view out. The steel is punctured with holes that create a camera obscura effect in which an image of the outside is projected onto the inner glass wall. Now, the resident can see out without being seen. Two different effects are achieved in the façade wall.
Figures 0.40, 0.41, 0.42
39 Clifford A. Pearson. “Jim Jennings uses multiple optical effects to animate his Howard Street House in a gritty San Francisco neighborhood.” Architectural Record, April 2002, 102-107.
22
Thesis precedents 03
Municipal Mortuary Leon, Spain
The building presents a dramatic link between earth and sky. It is an underground tomb for tombs. However, the architect wanted the space to have a clear connection with everything above grade. And so, the pool brings about a union of the earth and heavens. As the sky is reflected in the water it becomes a part of the building. In this way, two different entities (earth and sky) are united in close relationship. The building attempts to create an otherworldly realm for mourning the dead, while at the same time enlivening the space to counteract the perceptions of an underground construction.40 First, the below grade structure provides adequate isolation and solitude for proper respect. Next, a deep penetration of light, from above, creates an energized space. It is not heavy or dark like one would imagine an underground space to be. The architect successfully plays a game between what is expected and what actually occurs. Light and water are used to integrate a number of different emotional and perceptive qualities.
Figures 0.43, 0.44, 0.45
40 Cohn, David. “Between Earth and Sky A mortuary under water creates an Otherworldly Realm for mourning.” Architectural Record, July 2002, 92-97.
23 Thesis site evaluation: history
The Chicago lakefront has been drastically reinvented sine the 1800’s. It no longer resembles the area mapped by Father Jacques Marquette and Louis Joliet in 1673. Prior to 1830, the shore met Lake Michigan near where Monroe Street intersects Michigan Avenue, at the northern wall of the Art Institute. The shoreline has been buried under 5.5 square miles of fill, creating new piers, beaches and peninsulas supporting the soaring skyscrapers and flowing park systems above.41 Everything east of Michigan Avenue, including the 200-acres of Grant Park, is reclaimed land. The majority of fill was acquired by dredging the Indiana Shoals sandbar at the southern end of Lake Michigan and from rubble disposal after the Great Fire of 1871. Breakwaters were completed in 1874 and 1880, directly to the east, to negate large storm waves from destroying the new shoreline. Then, in the early 1900s, the area was again expanded to support Adler Planetarium, Soldier Field, the Field Museum of Natural History, McCormick Place, Meigs Field Airport, and the Shedd Aquarium.42
Construction of the Shedd Aquarium began in the 1920s with an initial donation of $2 million dollars by John G. Shedd. Through additional contributions by area businessmen and the Chicago Park District, Shedd’s dream began to take shape. The site was part of Daniel Burnham’s Chicago Plan of 1909, which called for both cultural and recreational facilities along the lakefront, dispersed throughout public parkland. Its adjacent standing to the Field Museum gave it both lakefront exposure and a logical, institutional neighbor. Along with the Adler Planetarium (1930), the first of its kind in the Western Hemisphere, museum campus draws more than four million visitors each year.43
Currently, the area is in the midst of a $587 million renovation.44 Since the 1996 relocation of Lakeshore Drive to the west side of Museum Campus the park has been upgraded with new landscaping, bike and running paths, all completed in 1998.45 The new plan provides 2,500 underground parking spaces across Mctridge Drive and adds 17 new acres of parkland around the campus. A 250-foot granite wall memorial to the men and women of
41 Julie Dubsky James Hort, Brad Sleeth, Shoreline Processes in Chicago. 21 November 2000. Northern Illinois University. 4 December 2002
24 the armed forces will also be erected. The plan culminates with the renovation of Soldier Field, creating better sight lines, more seating and greater venue diversification.46
The Aquarium began with the selection of Graham, Anderson, Probst and White to design the new structure. Walter Chute, appointed director of Shedd, accompanied by a number of architects began touring the foremost American and European aquariums. They studied management, construction, display and utilities techniques and technologies. They were interested in only the newest and most modern facilities. This information would soon be integrated into the world’s largest indoor aquarium. The Shedd opened in December of 1929 with only the swampy rotunda exhibit fully stocked and ready for display. Over the next two years, empty galleries were slowly transformed into amazing exhibit areas housing some of the greatest sea life in one building. It was the first:
-inland aquarium to maintain a permanent exhibit of both saltwater and freshwater fishes - aquarium to devote an entire room to the display of home aquariums - aquarium to transport millions of gallons of saltwater by train
Today the Shedd houses over 6,000 fishes, reptiles, amphibians, mammals and invertebrates of 750 different species. However, only one-third of the structure contains exhibits; the rest houses the necessary pumps, filters, reservoirs and 75 miles of pipe needed to maintain the functionality and livability of the aquatic environments.47
In keeping with Daniel Burnham’s dream of creating a “Paris of the Prairie” the building was designed in the classic Beaux Arts style. Formal elements hold true to classic Greek temple design: Doric columns, elevated on a platform, support an entrance portico with a broad staircase symbolizing the importance of this institutional work. The plan follows a traditional Greek cross, with filled-in corners creating an octagon. Detailing is of the Greek style with a distinctly aquatic twist, while the foyer follows a Roman Basilica plan.48 “Wherever consistent with the classic design, various aquatic motifs were worked into the marble and tile… fishes, turtles, shells and invertebrates, all modeled from life, are seen on every hand”.49 Cresting waves flow across the cornices of the dome bearing Poseidon’s trident held atop three dolphins. The ceiling contains traditional rosettes, turtle and scallop shells, while visitors are greeted at the entrance with lights, draped in octopi, suspended from bronze
46 Jill Helmer, “Soldier Field, museum campus to receive $587 mil facelift.” Columbia Chronicle Online. (November 2000). 3pp. 4 December 2002
25 ropes. The rotunda is flooded with natural light from the ornate skylight, where glass radiates in an ever- increasing pattern, mirroring the floor below.50
The Master Plan of the Aquarium focuses on continuing the state-of-the-art exhibitry expected of the Shedd facility. The plan creates better educational and recreational experiences through a refining of the displays. A fully interactive and immersive atmosphere is the goal. The two-phase plan will coalesce over a 15-year period. The Oceanarium (1991) was begun as the initial immersive exhibit, providing the basis for which the Shedd’s exhibits will be re-invented. The large addition re-creates a Pacific Northwest ecosystem, integrating Beluga whales, Pacific white-sided dolphins, sea otters and harbor seals under one roof.51 The construction required the coordination of:
- 11 miles of piping - 129 miles of electrical wire and cable - 1,200 tons of structural steel - 3,250 truckloads of concrete - 20,000 square yards of glass - 364 tons of salt
Sequential renovations include The Amazon Rising exhibit, which opened in 2000. It is a total sensory experience, immersing visitors in the flood cycle of the Amazon Basin. Plant and animal life is organized into logically flowing habitats progressing through time. The exhibit documents the yearly cycle of the ecosystem, showing the rising and receding of the Amazon River. The Indo-Pacific exhibit, opening in 2003, will create an experiential environment mimicking a reef dive. Its design tells a story connecting the reef to fish, people and plant-life. The 385,000-gallon tank houses live corals and six varieties of shark. The underground construction extends out below the original southern terrace, thus preserving the historic architecture of the façade. Phase II of the plan calls for new exhibits highlighting three additional ecological systems: southern Florida and the Caribbean; Lake Victoria and East-Central Africa; and Lake Michigan and the rivers and streams of northeastern Illinois.52
50 Karen Furnweger, Shedd Aquarium: Then and Now, (Chicago: Shedd Aquarium Press, 1999), 2. 51 Karen Furnweger, Shedd Aquarium: Then and Now, (Chicago: Shedd Aquarium Press, 1999), 30. 52 Take the Grand Exploration of Shedd Aquarium. 2002. John G. Shedd Aquarium. 23 October 2002
26
Thesis program precedents
Monterey Bay Aquarium Observations/Notes
- small sitting groups for observation of large tanks - floor pattern changes from public space to exhibit areas - darkly lit spaces/corridors where exhibits exist - signage lit from tanks and sparse/direct overhead lights - signage for types of fish and plants in each tank - tanks lit from above (open to sun) - portions open to air and exterior sunlight - bird areas are sealed against escape into aquarium (revolving door) Figure 0.46 - reuse of an old cannery (sardines) - exposed mechanical systems - open pools for touching rays/starfish/other plants and animals - decks to outside spaces - kayaks can come right up to aquarium bay area - exterior tide pool filled by rising ocean currents and waves throughout the day and night - people in bay can interact with aquarium and its pools - area isn’t restricted or closed - industrial look of cannery: concrete/metal/glass - sculpture- water for kids to play with - exterior auditorium faces ocean and large tidal pool - double height tanks with stair seating - café’s/bookstore/souvenirs
New Section
- anchovies- dome with fish swimming around - blue light and indirect light to wash walls around tanks and signs - undulating ceiling of metal slates to hide air and mechanical - backlit, solid blue tanks in walls - highlights fish entirely, not environment (no environment present for jellyfish) - two story, floor to ceiling glass wall - experimental areas- water and models of animals (microscopes) - maze-like and disordered- hard to know where to go next - large signage- super graphics might help - plexi-glass with etched animal prints for direction and information - designated kids area for exploration - sea life and art combined - “cheesy” - kid-like - tanks where you can see above and below water (double height spaces) - things for kids to climb on to get a better view - railing- every window has a railing or “rocks” for kids to climb on - things low and on their level
27 Summary
The space feels incredibly bright and vibrant, counteracting the traditional dark and stoic nature of aquarium design. Each different level allows numerous vantage points and views throughout the structure. One tank can be seen from three entirely different levels, including the machinery used to sustain the exhibit’s environment. Interior and exterior group areas provide places for people to sit, rest, and appreciate the exhibits for a time. An exterior sculpture that rains water provides a perfect place for small children to play while their parents enjoy the view of adjacent Monterey Bay.
People have an affinity to water and enjoy direct interaction. Contact with the sea is further explored through the “petting area” where children can touch and learn about sting rays, starfish and other sea creatures. The building’s external tide pool is a great natural feature. A demonstration educates people about the intricate cycles of tidal currents within a cove-like setting. The entire area is teeming with life. Kayaks and swimmers can come right up to the building, and the beach is just down the shore.
The interior material treatments are very clean and machine-like. They suggest a learning institute. The materials are elegant, but personal and inviting, with a comfortable atmosphere of discovery and play. Children are accommodated through designated spaces and a thoughtful regard for their stature. For example, every exhibit has a railing or stepped formation allowing children a better, closer view of the exhibits. They are presented with actual, exact and educational data in a fun setting. The discovery of information and sea life makes the experience enjoyable. Exhibits are set up to promote wandering discovery so no two people experience the aquarium in the same way.
Monterey Bay breaks from the mold of traditional, interior-oriented aquarium design. It’s bright and sunny disposition invites the exterior environment to participate in the aquatic experience. The presence of the bay adds to the effectiveness of the institution. Each experiential exhibit allows adults and children to interact, learning and discovering effectively. The construction is elegant and fun. Children are not negated and adults are not overwhelmed with cheesy pirate dummies and sunken ship models. An effective mix has been established.
28 Shedd Aquarium Observations/Notes
- covered area for long lines - large lobby doesn’t seem built for people coming into area - central rotunda is pivot point - domed, wide wings feel very open - information above- well placed for adults but kids have trouble - 4’ height to the bottom of each tank - circular rotunda tank is amazing - diver swims around and answers questions over speakers - light dims during show Figure 0.47 - video screens - info on fish is located above tank - Amazon Rising- first revision of original, old display areas - water falling and dripping - skylight from above - interactive touch screens low for children and adults - glass panel built to 8’ with open netting above - climate change held in area by glass paneled wall (swampier) - wings with center tanks are more crowded with people, less space - halls in between wings, circling the rotunda are bleak even though they have tanks and displays - action occurs within rotunda and wings - large square tanks with flat glass fronts - new areas are much brighter/ don’t have to be dark like traditional aquarium design - small activity center for children to learn about sea life
Oceanarium
- skylights in roof make space bright - café below - water looks like an extension of Lake Michigan (visual cues) - views from below tanks (area seemed cramped as compared to the upper floor) - double level tanks (very deep) - exposed trusses and HVAC - grid assembly is used to hide HVAC in lower level (wide grid) - great view of site from oceanarium - 4’-7’ panes of glass - 5 panes high plus an additional 8’-10’ to accommodate the trusses and HVAC - wood won’t corrode as easily as metal with the open tanks
Existing African Fish: - African Lungfish Protopterus annectens - Nile Knifefish Gymnarchus niloticus - Long Snout Distichodus Distichodus lussoso - Ornate Bichir Ploypterus ornatipinnis - African Tigerfish Hydrocynus vittatus - Orangeback Rainbow fish Melanotaenia boesemani - Rock Kirbensis Cichlid Haplochnioms sp. - Angelicus Catfish Synodontis palmas
29 Epinions.com
Shedd Aquarium: - could only see if adult picked child up - oceanarium is main attraction (dolphin, whale, otter, and seal exhibit) - windows into bottoms of tanks are great - coastal reef region is center of aquarium and wings house exhibits of different coastlines or parts of the ocean - river otters are cute but exhibit pales in comparison to Monterey’s aquarium - poor signage in dim light53
Summary
The classical design of the building does not promote the intended use. Each wing is set up as a separate gallery of related information. However, each section has no real connective quality and the hallway lies dormant and unused. The design does not translate well into an aquarium. The functioning of the ticket area is clumsy and does nothing to provide any formal processional quality. The first experiential space (the central rotunda tank) establishes an amazing precedent which is never outdone. The rotunda space is set up to provide natural light from the skylight above, yet display the tank with minimal glare. A crowd constantly huddles around the space, during and after shows, enthralled by the exhibit. A flat-screen, panel monitor allows everyone a similar, view on overcrowded days. From there, the experience diminishes as the viewer enters the traditional wings of the structure. The space is poorly lit, making some of the fish hard to discern. However, the exhibit information at the top of the tanks is clearly defined and well placed for adult viewing. Unfortunately, a child has a difficult time seeing the information.
The building is in the process of a two phase renovation that will turn each dark wing into fully immersive, experiential exhibits. For example, the Amazon Rising exhibit is brighter, and more visually and environmentally active. It transforms the old, dark environment into a recreation of the natural world, providing a far superior experience than the original display area. The new Oceanarium is another immersive exhibition space. It recreates the Pacific Northwest region of the United States with great accuracy. Trees, rocks and lakes fill the space to capacity. The interior pool seems to extend into Lake Michigan creating a successful illusion. The auditorium space is adequate and comfortable, providing enough variation for personal discovery, especially in the viewing areas below.
The Shedd is a comprehensive institution, providing a wide variety aquatic life and environments. Its location is formidable and gives it tremendous visual opportunities. Unfortunately, its current spatial configuration leaves
53 Shedd Aquarium. 20 October 2000. Epinions. 5 November 2002
30 something to be desired. Dead space plaques the experience, keeping it from creating a holistic exhibition of sea-life. Older space is dark and uninviting, while the tanks and information negate child investigation. However, new exhibit designs create a more in depth learning atmosphere. Information is presented in a fun and elegant way, inviting every patron to participate in the discovery.
31
Newport Aquarium Observations/Notes
- hard to see jelly fish in display - graphics/ info almost illegible - interactive displays- push buttons and rivers light up - circular tank with current so fish have to swim to keep from being swept away - corner of square tank distorts the view - information panels on the side of the exhibit are not as good as the ones below each tank. Figure 0.48 - easier association with the tank - easier for children to see - carpeted wall for children to lean against - roof is black, exposed and fire-treated - arch of water (see fish from below) - floor is textured concrete with sand-like feel - petting area for kids (fake rock cove) - integrated step for kids - small theater with pirate motif (very child oriented) - tank 10x20 = 380,000 gallons of water - lot of kid-like clutter (murals, dummies, fake rocks, etc.) - current pumped into tanks to agitate water - eliminate hiding places to maximize viewing - long window tank will move people past (hallway use possibly) - lots of murals and paintings (sea theme) - distortion increases with closeness to tank and glass - tall spaces feel better- more chances for things hanging above - definite, clear path of travel - places where you can look up into tank - frames around jellyfish tanks - tunnels with glass above to connect larger rooms that you can wander - still pulls you in a certain direction - grid/mesh-panel used to hide mechanical above - glass floor was unlit and hard to see through to the display - alligators below bridge have possibilities but not always entertaining - tanks with sitting/stepped area so you can see above and below water - area to see above tanks/behind the scenes viewing
32
Epinions.com
Newport Aquarium: - don’t like being channeled through gift shop and restaurant - aren’t able to go back to exhibits at end - entrance up steps is too much for people to walk up if elevator is crowded - stroller access is important - children’s petting area/ interaction (adults w/o children seem to avoid) - liked the movie theater- feeling like you are in a storm at sea - hard to see exhibits when there are too many people - some like being able to see the tops of the tanks @ end (some don’t) - enter aquarium from escalator into the depths of the sea - bathrooms upon entering important - people linger in rotunda but spread out as they get into building - get people in and moving - some adults are concerned with clear glass spaces/floor but kids love - clear tunnels are everyone’s favorite attraction - info about each exhibit and fish is important (locate it in good place) - noise can be a problem with children yelling - sound dampening possible - gentle music is nice and comforting - cramped spaces get overcrowded and tight - no real big, open spaces - corridor of exhibits- forced through and not allowed to re-enter54
Summary
The design attempts to immerse patrons into an underwater world of fantasy (for example: the escalator down into the building at the very beginning). The treatments are clearly child-oriented with fake rocks and pirates dominating the scene. Very little relates to adult patrons. Props clutter and distract from the educational atmosphere. Children are enthralled by an environment set up specifically for them, but adults have very little cause for excitement. They have been completely negated in the design process and are forced to adjust to an environment specified for their kids.
The relationship to the exterior is lacking, creating an introverted experience with an emphasis on underwater immersion. A low ceiling and cramped quarters add to an uncomfortable, claustrophobic atmosphere. A busy day produces horribly cluttered spaces where views are obscured and people do not have a chance to see the exhibits very well. In addition, movement follows a designated path of travel force-feeding people through the space. No patron is allowed to linger in any one area for long before the “conveyer-belt” moves the next in.
54 Newport Aquarium. 20 August 2000. Epinions. 5 November 2002
33 Every person is forced through the cafeteria and gift shop, creating a nightmare for every parent. He or she has to shuffle children through while they complain of hunger.
The most intriguing experiences are the underwater tubes. Patrons are surrounded by fish and plant-life, creating a unique 360 degree view of the environment. People seemed to linger in these areas the most. Unfortunately, fake rock outcroppings and shelters detracted from the elegance of the tubes. The transitory areas between tubes could have been expanded to provide pausing and wandering points.
The Aquarium is a totally introverted experience with serious claustrophobic consequences. It is a cramped series of experiences functioning to move people through at a constant rate. The consumer-based strategy for moving people through reveals a greater commitment to economic satisfaction than education. Material treatment negates the adult presence and codifies the space for child fantasy. Information is poorly placed and degrades the learning experience. The aquarium is more concerned with surface image than substantive learning.
34 Thesis program
Under water portion- Sq Ft.
level 001: mechanical space 3,400 sf 1- main (2,378sf) 2- ancillary (1,022sf)
tank display 6,700 sf
men’s lavatory 250 sf
women’s lavatory 250 sf
In water portion-
level 001: mechanical space 11,700 sf
level 002: auditorium 3,800 sf
cafeteria 2,150 sf
tank display (overhead) 850 sf
information wall 1,000 sf
Over water portion-
level 002: lobby/ information space 850 sf
tank display 3,000 sf
level 003: tank display 2,050 sf
level 004: tank display 2,050 sf
level 005: mechanical space 2,050 sf
Totals 40,100 sf
35 Thesis purpose and feel of spaces
Under water space-
Mechanical space:
(level 001) This space will provide water circulation and filtration for every tank system in the underwater area. It will also provide all back-of-house functions as well as storage and maintenance needs.
Tank Display:
(level 001) These areas focus on the dramatic display of aquatic life. The space’s most important feature is the floor to ceiling glass wall, looking out into Lake Michigan, back toward the shoreline and the existing Shedd structure. The construction of an artificial cove or sandbar for informational study and exposure to the daily processes of the Lake are possibilities. Also along this wall, a number of circular, floor to ceiling tanks serve a dual purpose as light wells and display systems. They project up through the space, into the lake and out of the water. They allow light to penetrate the space from above, simulating that the tanks are not merely contained, closed elements but open to lake water moving in and out of them. These displays will be flanked with seating areas that allow visitors to stop and enjoy the fish-laden, columns of glass and the view into the lake along the exterior wall. These elements attempt to alleviate the claustrophobic feel of the underwater space, opening it up to various lighting conditions and spatial illusions. Other display systems will focus on creating an atmosphere of wander and discovery. They establish small, contained environments all of which meander throughout the space, allowing patrons to slow down and really appreciate the fish on display.
Men’s/Women’s Lavatory:
(level 001) These facilities service the entire building, providing the final stop before exiting the structure.
In water space-
Mechanical space:
(level 001) This space provides the bulk of the back-of-house facilities. It will contain the HVAC systems and major circulation and filtration systems for the entire building, excluding the “over water portion”. It will also provide storage units and mechanical equipment related to the cafeteria space above.
Auditorium:
(level 002) Presentations, lectures and shows are held in this space. Its purpose is to display the violent storms of Lake Michigan in a safe environment. The space is partially submerged beneath the waves, allowing for the lapping of water across the glass façade even during calm days. In addition, the sky will be visible to the full height of the ceiling. The play of lightening and waves crashing against the exterior showcases Mother Nature in all her fury. The inclined surface of
36 the exterior wall provides the optimum view of the sky and maximizes the effect of water washing over the audience. Safety and security are called into question.
Cafeteria:
(level 002) The cafeteria is a dynamic space. A patron can enjoy a snack in the sun, provided by the glass skylights above, or experience the play of water and light beneath the suspended, serpentine tank. The tank exists at a height where visitors can easily view the fish as it weaves its way through the space. It increases the energy and movement of the space through an illusionary dance of light and water across the floor and walls. This area is also open to the auditorium, allowing views of the storms.
Tank Display:
(level 002) As a visitor reaches the top of the entrance steps he or she is greeted by a suspended tank overhead. It implies that after entering the underwater tunnel on shore, traveling through the lake water and up a grand stair he or she is still beneath the water. Here a group can collect themselves and enter the lobby/information space on their way to the columnar tank area.
Information Wall:
(level 002) This wall, which lines the ramp to the auditorium, provides information on every fish exhibited in the complex. It consists of various fish species encased in acrylic blocks which are then stacked together and backlit. Pertinent information regarding each fish is embossed on the acrylic block. As the visitor descends into the auditorium, this undulating wall of information follows.
Over water space-
Lobby/Information space:
(level 002) The area provides information regarding the entire aquatic complex of buildings as well as museum campus in general. It will sell materials describing the history and background of the aquarium annex and its displays. Here, a patron seeking additional information about the fish of Lake Victoria and East Central Africa can purchase literature, postcards and other trinkets. Information regarding tours, shows and special lectures is also available. From a design aspect, this space is clad in glass, emphasizing its role as the minimal joint between the curve and cube elements. Its opacity tries to perpetuate the view through the space, out over the lake. At night it glows with a radiance that brings special attention to its position as a joint.
Tank Display:
(level 002) This level allows visitors to wander freely throughout an array of columnar tanks which project through the floor plates to a three story height. Each displays a variety of fish, all of which inhabit the lower stratifications of their natural habitats. Natural light flows in and filters down the space left void by pulling the floor plates away from the outer shell. This space functions to unify the cube into one, continuous element through a visual connection spanning numerous floors.
37 Tank Display:
(level 003) This second floor plate displays fish from the upper stratifications of Africa’s waters. Each tank is a continuation of the one below, allowing patrons to spiral upward, around the display itself. Different views of the fish and their habitats are possible. Each tank becomes a spatial puncture that engages every subsequent floor.
Tank Display:
(level 004) This floor has a two-fold purpose. It functions as the back-of-house area where marine biologists and caretakers have access to tanks and fish. Here, the fish are fed and medically treated. Chemicals are added and tank cleaning occurs in this area. Secondly, the space functions as a behind-the-scenes look for visitors. He or she can see the daily routines and processes required for the continued efficiency and health of the creatures.
Mechanical:
(level 005) This mechanical space circulates and refreshes tank water as well as conditioning the space for visitor and habitat comfort. Water filtration and return/supply processes are ducted through the columns that bound the periphery of each tank. Here, water is circulated through a continuous joint along the entire edge of the column. Additionally, air circulation is provided by HVAC equipment on this floor which then ducts air down to the spaces below. A supply stack occurs at the corner of every floor plate. The air is then directed into ducts which run along the edge of the slab. The circulation system emphasizes the spatial connection throughout the volume of the cube, creating a whole.
38 Thesis thesis relation to building
Any new construction often requires the use of connective materials and ideas to unite it within its context. Here, perceptual references make the leap between land-based and sea-based constructions. The composition is conceived on the basis of psychological perceptions. Relationships are established between “different” geometries and spatial feelings are created and enhanced.
Figure 0.49 A strong relationship to the original Shedd aquarium and Lake Michigan unites the new addition with both its parent building and site. This relationship anchors the building, linking it to the land-based structure and the water within which it sets. The original building is a distinctly classical beaux arts style.55 The recent Oceanarium addition is grafted to this structure. It makes use of the Shedd’s symmetrical geometry, while creating an edge condition aligned with the shoreline. In this way the current building has a strong connection between old, new and lakefront entities. To physically link another addition to this structure would only compound the issues of context and composition already present. Therefore, the design solution involved a language related to the original geometric properties of the Shedd and Oceanarium addition, modified to take advantage of the Lake site.
First, a line was drawn parallel to the Oceanarium’s façade, out, over the water. This became the genesis point from which the geometry of the Shedd was translated into the new addition. Next, a second line was traced along the curved facade of the Oceanarium and a rectangle was superimposed over the original cruciform structure. These shapes were then mirrored about the line drawn over the water. These elements became the basis from which the new spaces grew: under, in, and over the water (figure 0.49). The relationship to the original structure establishes a visual link between the two, creating a specific location for its placement in the water.
55 Karen Furnweger, Shedd Aquarium: Then and Now, (Chicago: Shedd Aquarium Press, 1999), 2.
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The addition is rooted to its location as a “figure/ground” composition. It is projected onto the lake in plan and the horizon in elevation. The Gestalt principle of Surroundedness states that an area seen as being surrounded by another, larger area will be perceived as a figure.56 In this regard, the building’s elevation is seen as a figure or foreground element projected against the horizon line, from the city. Similarly, the plan creates an figure set against the background of Lake Michigan. Each of these relationships establishes the new building as a foreground structure (figure 0.50). Figure 0.50
The dynamic relationship does not end with its site condition. Design and placement of the building’s different geometric elements creates tension. A binary relationship is established between the two above- water pieces. Each is qualified by the existence of the other.57 First, obvious physical and perceptual differences are easily identifiable. The Figure 0.51 shapes themselves have totally different implications. The curve feels calm, assured and relaxed based on the idea that circles are natural and complete. Conversely, the cube feels dull, straight forward and honest; decidedly less natural than a circle or curve.58 These distinctly different feelings play off one another. In addition, the Gestalt principle of perceptual organization states that “closed” or “completed” figures are preferred over “open” or “incomplete” shapes.59 The curve, an incomplete form, is at odds with our perceptual nature, lacking adequate distinction, while the cube, a completed object, takes precedence. (figure 0.51). Differences are further emphasized by the forms materials and proportions. The curve is constructed from cast-in-place, striated concrete, strengthening its position as the horizontal dominant. The cube is twenty feet taller than its curvilinear counterpart and clad in vertically oriented steel panels. It is the vertical dominant. Each
56 Daniel Chandler, Visual Perception 6: Gestalt Principles of Visual Organization. July 1997. University of Whales. 21 October 2002
40 “different” element is arranged to compete with the other for spatial dominance.
This juxtaposition creates purposeful tension and energy. The triangular arrangement of forms adds to the agitation. Triangles are associated with tension, action and conflict.60 Here, the eye travels from the entrance of the curve, out to the cube, across to the auditorium at the end of the building and back again to the entrance. This positioning links the shapes in a contextual order (figure 0.52). The cube and curve become stronger because of their connection and mutual agitation. Additional cues unite the forms as well.
First, the curve wraps the cube trapping it. It is a derivation of the circle, visually framing and highlighting anything placed within it.61 Therefore, as the arc wraps around the cube it embraces the space and places importance on it as a related compositional element (figure 0.53). The elevation functions similarly. Viewed from the Shedd, the cube appears to be totally wrapped by the foreground wall. Also, the angle of the eastern wall pulls the cube perceptually closer. As the wall angles toward the base of the cube’s structure its proximity changes. The principle of proximity states that objects which are closer together will be Figure 0.52 associated.62 Therefore, as the proximity of the wall and cube change, so does their association. The wall begins to enter the “space” of the cube, physically linking the two (figure 0.54).
The two components require one another to form a balanced composition. In elevation the cube is the vertical dominant, but as the curved wall slides past, it angles up to a height just below that of the cube. The distance between the two extremes creates balance for the Figure 0.53 design while allowing the individual elements to be read separately.
60 Nargis Kasenova, Misty Ruskshan, Misha Kozareff, The On-Line Visual Literacy Project.. 1994. Pomona College. 21 October 2002
41 - the cube’s maximum height is juxtaposed with a minimal distance from the end of the curve. - the maximum height of the curve (20’ shorter than the cube) is compared to a maximum distance from the vertical dominant. In this way the composition is read as balanced, each horizontal extreme being the place of maximum height for the two geometries Figure 0.54 (figure 0.55).
The curve and cube also have individual characteristics with perceptual implications. Each strengthens the individual and compositional qualities, defining both interior and exterior perceptions. Interior Figure 0.55 configurations and treatments emphasize the psychological cues established on the exterior sequence.
The entry experience (into the curve) involves various perceptual changes and movements. First, visitors enter a land-based pavilion, descending into an underwater tunnel which connects to the aquarium. Then, visitors travel upward, along a grand staircase to the lobby/information space above. A perceived inconsistency greets the visitor at the top of the stairs. A tank, suspended overhead, lit by a ceiling skylight system, creates a play of water and light across the floor and walls (figure 0.56). The visitor has descended into an underwater tube, climbed a grand stair, and still feels like he or she is below the Figure 0.56 water level of the lake. However, as the person looks around the space, he or she spots a view through the lobby, out over Lake Michigan. Now the illusion is understood: the viewer is above the lake and the water overhead belongs to a closed, interior display system. The play of water and light merely enlivens the space with an energetic movement. The sequence changes perceptually along the path of travel.
Now, inside the curvilinear space an incline exists in both plan and elevation. The relationship to a graph produces an understanding of inferiority in the small portion and superiority in the large.63 Here, the
63 Nargis Kasenova, Misty Ruskshan, Misha Kozareff, The On-Line Visual Literacy Project.. 1994. Pomona College. 21 October 2002
42 entry begins at a minimum height and width, expanding along the horizontal and vertical into a maximum feature; the auditorium. The sequence suggests this space will be more interesting and compelling (figure 0.57).
Figure 0.57
Here, the spatial progression culminates and Lake Michigan’s storms are on display. Issues of safety, visibility and the movement of water are also addressed. The auditorium descends into the lake, taking advantage of an underwater opportunity. Waves will continuously lap up and onto the inward slanting window façade. Viewers will look into the water and lightning-filled sky simultaneously. This dramatic effect challenges our perceptions of safety and comfort. The lake feels as if it will break into the space creating a strong link between the “outside” and “inside”. An interior water feature at the base of the window facade will bring palpable elements of the outside into the space, playing on the Figure 0.58 visitor’s perception of safety and security.
As the curvilinear space begins to grow from a minimum to a maximum, the tank, suspended above, develops a reciprocal change. At the top of the stair a maximum width and minimum depth of water is required to create the illusion of still being under the lake. However, these requirements change as the tank weaves its way into the space. Now, relating to its growing environment, the tank begins to swell vertically. A reciprocal horizontal shrinkage occurs so the end condition becomes one of maximum height and minimum width.
The composition and design of the cube also follows an understanding of perceptual phenomena.
The massing of the space generates a 60’x 60’ square which hovers over a glass base. It is clad in heavy, riveted, steel panels. An interior glass box is slide out and down from the original cube to form the base. The design creates a large, heavy mass balanced above a thin, light one. The characteristics are clearly different but the generative forms have a distinct relation.
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The space’s structure, lighting and HVAC are used to strengthen the unity of the two boxes. The structural columns, which support the entire mass, are pulled up through the space and out the top. These lines define continuous objects that puncture into and protrude from the mass suggesting a singular object (figure 0.58). On the interior, display tanks are created by enclosing the space between columns with glass. The tanks project through the floor plates, which have been pulled back, up three levels. This further emphasizes them as spatial punctures that define the cube as a single space.
Figure 0.59 The cube’s lighting, both interior and exterior is essential to its unity. On the outside, light projects from both the top and bottom, illuminating the columns that puncture and project from the building. If not properly lit their perception as a continuous length is lost in the night. On the interior, skylights illuminate the interstitial space left from pulling the floor plates away from the exterior walls (figure 0.59). This space allows visitors to look up and down throughout the space, creating visual connections on a floor to floor basis (figure 0.60). Figure 0.60
Finally, the HVAC system ducts through the interstitial space, providing elements for visual connection vertically. Large supply ducts are located at the four corners of the floor plates, traveling the entire length of the space. Smaller ducts are fed along the floors edges to supply air circulation, in a top down format, from the mechanical floor above.
The connection between the curve and cube is the most important joint. Figure 0.61 It controls how each piece comes together and establishes how each is read within the composition. It relates to both, without creating a perceived dominant. Here, it functions with the dual purpose of being seen and not, depending on the time of day.
The joint (lobby/info. space) is clad in glass. Its few interior, physical features allow the space to be largely transparent and translucent.
Figure 0.62 During the day it is minimally existent, allowing the two geometries to interact without it (figure 0.61). However, at night, dramatic interior
44 illumination draws special emphasis to the space, highlighting the joint (figure 0.62).
The underwater space functions as a composite and transition piece Figure 0.63 derived from the relation of the curve and cube. It establishes the exit sequence and provides a number of notable displays which attempt to alleviate the claustrophobic feel of being trapped under Lake Michigan.
The genesis point for the curve begins back on shore, where visitors first enter the tube. Here, an arc is inscribed over the site. It separates and peels apart to form different spaces: the underwater portion and the main wall above the surface of the lake. As the arcs split an exit funnel is created which forms a maximum spatial sequence tapering to a minimum departure point. The plan’s decline suggests “superiority” in the larger portion, diminishing along the path of travel out of the space. As the walls begin to close in on visitors, spatial perception becomes important so people do not feel confined and trapped.
The partition walls begin to alleviate this stress. None touch the 15’ tall ceiling, allowing the space to feel like part of a larger whole, not confined to a small section. Visitors can not see a defined end to the space as one would if a corner existed. Therefore the space seems to be larger and undefined.
Light-wells also help to open up the underwater structure. They serve a two-fold purpose: bringing light into the space and suggesting to visitors that an enclosure exists below the water’s surface from above. Inside, they function as tanks, carving out niches within the space where people can sit and watch the fish. As light hits the water in the tanks it creates a play of moving light throughout the space. When viewed from the Shedd, these light-wells appear as “figures” against the larger “ground” (curved wall beyond) (figure 0.63). Also, the perimeter wall projects above the surface of the water. The light wells suggest a spatial condition below the waves, while the perimeter wall conveys the exact dimensions and shape of the element. Now, its relation to the above- water arc can be seen.
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The new Aquarium addition is the product of a series of perceptual principles which unite different geometric elements. The thesis describes how we, as architects, can successfully combine geometries in an eclectic fashion.
46 plan 01
47 plan 02
48 section 01
49 Bibliography (Annotated) thesis and program
Bachelard, Gaston. The Poetics of Space (extract) in Neil Leach, ed., Rethinking Architecture: a reader in cultural theory. London: Routledge, 1997.
The extract talks about the theory of phenomenology, setting up a distinct relationship between how we react to life and space to our personal experiences through our “homes”. Prototypes are introduced as learned, experience knowledge affecting our daily perceptions. This information provides a base of comparison and reference for current events through memories of past outcomes. Its reliability is suspect in some cases and can be proven false in others. The “basement-attic” condition is introduced as an example of prototypical information creating false impressions.
Barreneche, Raul A. “Davis Brody Bond gives new life to a Beaux-Arts grande dame, with the Modern new south court of the New York Public Library.” Architectural Record, November 2002, 134-141.
Bechtler, Cristina. Frank O. Gehry Kurt W. Forster. Cantz Verlag, 1999.
His architecture deals with the human “mess” and how people come to understand design, not with cleaning up the life condition. The concept of Impression is key in determining how the public feels about and functions within the building. The sculpture of building imparts “feeling” to the viewer.
Behrens, Roy R. Art, Design and Gestalt Theory. MIT Press. 9 October 2002
The article discusses the figure ground relationship, how color may be distinguished, and parts versus the whole. It is proposed that forms are never seen alone but only within complex figure-ground relationships. Colors may read differently when juxtaposed against various swatches. The individual can often be read as part of a whole depending on its grouped composition.
Blake, Peter. The Master Builders. New York: Alfred A Knopf, 1960.
Early in his career Corbusier believed in the balance of total contrast: the superiority of the man-made object to nature. This shifted to an understanding of the inherent proportional ordering system found in nature. An investigation of the fluid curve and the line followed.
Bregenz, Kunsthaus. Peter Zumthor. Hatje, 1999.
Visual cues suggest movement through a space. The perception of fluctuating light or seeing the next stair begins to suggest where movement should be routed. It also suggests that design might be a process of compressing complexity into simplicity. This process allows the simplicity to grow out of the complexity instead of holding to the traditional idiom.
50 Carterette, Edward C.; and Friedman, Morton P. Handbook of Perception. New York: Academic Press, 1975.
Discusses how information is perceived and in what formats it becomes most apparent and readable. Information organized in a vertical or horizontal format is superior to the oblique. Understanding the way in which we perceive allows for clearer information presentation and the possibility of illusionary experiences. Convincing the mind of the existence of illusion is tantamount to actuality
Chandler, Daniel. Visual Perception 6: Gestalt Principles of Visual Organization. July 1997. University of Wales. 21 October 2002
The article talks about how we perceive our surroundings based on the principles of gestalt theory. It sets the basic foundation for gestalt theory by defining observed and documented reactions to perceptual tasks and activities. Close proximity or spatial consistency of forms produces associated relations. The mind interprets visual stimuli in controllable and understandable methods. These are continuous, constant and learned deductive reactions.
Cohn, David. “Between Earth and Sky: A Mortuary under water creates an otherworldly realm for mourning.” Architectural Record, July 2002, 92-97.
Dawson Home page. 3 December 2002
The source provided information on “Object Recognition”. The term was formally defined and the basic concepts were discussed. We have the ability to discern an incredibly difficult visual world through the “basic level”. Next, the three current theories of object recognition were discussed: the face recognition system, Lowe’s SCERPO model, and the geon-based system.
Dubsky, Julie; Hort, James; Sleeth, Brad. Shoreline Processes in Chicago. 21 November 2000. Northern Illinois University. 4 December 2002
The article talks about the history of Chicago and the more localized portions on which Museum Campus stands today. From its beginnings as marshy swamp land to its fruition as a major metropolitan area, the city of Chicago has undergone drastic changes as it has continued to grow and change. The reclamation of portions of Lake Michigan have provided needed space for a city on the rise and created areas for public leisure. Chicago’s lakefront has become the perfect venue for public parks and institution education.
Eisenman, Peter. Diagram Diaries. New York: Universe Publishing, 1999.
The work talks about the relation of the diagram to the anteriority of architecture. The transformation relates the parts to the whole and the old to the new. The structure is therefore not without a basis from which to relate and deviate. Creating blobs on a computer screen negates architecture’s anteriority to create something with no basis for relation. It also discusses the idea of perceived connections and movement derived from the imposition of stills (diagrams) in a cinematic operation. The human eye constantly tries to formulate connection.
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Furnweger, Karen. Shedd Aquarium: Then and Now. Chicago: Shedd Aquarium Press, 1999.
The book overviews the design, history, exhibits and future aspirations of the aquarium. It was a visionary proposal by John G. Shedd to enlighten the Chicago population about aquatic life. It was to be the most comprehensive structure of its kind. Its design was completed in a Beaux Arts style and has since been modified to incorporate the Oceanarium facilities expansion. The institution has generated a master plan to begin renovation of the original structure creating dynamically immersive exhibits within a traditional space.
Helmer, Jill. “Soldier Field, museum campus to receive $587 mil facelift.” Columbia Chronicle Online. (November 2000). 3 pp. 4 December 2002
This article describes the $587 million renovation of Museum Campus and Soldier Field. It discusses future parking and play-land sites throughout the park. It will also entail the construction of an armed forces memorial and an overhaul of Soldier Field, providing better sightlines and seating, and a more complete venue for Sunday football entertainment. It’s a very aggressive retro-fitting of one of the oldest stadiums in the United States.
Jaffe, Hans L.C. Picasso. New York: Harry N. Abrams, Inc., Publishers, 1964.
Picasso’s work challenged conventional sensory perception through the representation of three dimensional space by a two dimensional media. Figures are analyzed and broken down to their simplest understandable forms. The relation of the basic, individual elements generates a composition of greater complexity.
Kasenova, Nargis; Misty, Ruskshan; Kozareff, Misha. The On-Line Visual literacy Project. 1994. Pomona college. 21 October 2002
We develop visual as well as verbal vocabularies that allow us to dissect shapes into simpler geometric forms. Certain shapes connote varying visual cues related to feelings and ideas associated with their forms. Definable reactions to basic geometric shapes, color and contrast variation can be used to exploit the transmission of information to the public.
Merriam-Webster Online. 25 March 2003
Morgan, William. Heikkinen and Komonen. New York: The Monacelli Press, 2000.
The book discusses ideas of simplicity and complexity as balancing compositional elements: opposing forces that require the presence of one another in order to provide a coherent statement. Visual chaos is seemingly balanced by treatment of the composition. The “simple” becomes the “complex” through the process of design.
52 Newport Aquarium. 20 August 2000. Epinions. 5 November 2002
The website listed opinions of patrons who’ve visited the aquarium. A good deal of the comments involving the programming of the building was negative. The tight spaces and way-finding were criticized repeatedly. Opinions were directly related to the number of people in attendance: it seems the structure is not conducive to large crowds. However, everyone seemed to enjoy the experiential underwater tubes.
Pearson, Clifford A. “Jim Jennings uses multiple optical effects to animate his Howard Street House in a gritty San Francisco neighborhood.” Architectural Record, April 2002, 102- 107.
Richter, Dagmar. XYZ: The architecture of Dagmar Richter. New York: Princeton Architectural Press, 2001.
It discusses the transformative power of the diagram to map out confrontations of life, producing a reality based off both the old and new. The map/diagram is not only the representation of design information but a design possibility in itself. It can inform the process of design exploration and the transformation of the descriptive into the expressive.
Rowe, Colin. As I Was Saying: Recollections and Miscellaneous Essays. Cambridge: Massachusetts Institute of Technology, 1996.
This book talks about the idea of literal and phenomenal transparency, which leads into a discussion about the power and symbiosis of figure-ground relationships. The process of information organization by the human brain is important to the understanding of shapes and forms within a composition. How people understand the field within which the figures or forms occur is essential. Figure is inconceivable in isolation.
Shape. 21 October 2002
The source discusses our visually literate skills in recognizing the various ways shapes and forms can be recognized. Objects can be outlines, different parts of adjacent objects, or negative spaces between objects. Our understanding of the geometric basis of this information provides us with a basic comprehension of shape language. Next, specific objects are defined along with their emotional qualities. This information is then related as potential advertising propaganda.
Shedd Aquarium. 20 October 2000. Epinions. 5 November 2002
The website’s opinions were generally positive. People especially enjoyed the scheduled shows in the rotunda space exhibit. Here, concern about child sight lines is resolved through flat screen panels located around the tank. However, poor signage lighting was a concern in the old wings. The Oceanarium drew the most comment since it is the newest addition. Its bi-level viewing and realistic environmental displays drew rave review.
53 Take the Grand Exploration of Shedd Aquarium. 2002. John G. Shedd Aquarium. 23 October 2002
The extensive historical background of the Shedd is outlined, dating back to its original conception within the context of Daniel Burnham’s master plan for the city (1909). The architectural design is discussed in depth, noting the classic motif with a decidedly aquatic twist. The classical orders are highlighted and many of the pertinent details described. Statistical information regarding the size and capacity of the structure itself are also outlined and the plans for its’ future expansion are also brought to light. The building will continue to be a world class facility with a decidedly conservationist outlook to the preservation of endangered species and their related habitats.
Uttal, William R. A Behaviorist looks at Form Recognition. Mahwah, New Jersey: Lawrence Erlbum Associates, Publishers, 2002.
The work discusses human form perception, the idea of part versus whole, and the phenomena of contrast. Contrast can be used to highlight form or color through the process of comparison. Images are broken into simpler geometric parts and compared against a library of learned images. The more ambiguous the information the more the mind tries to apply rules of constancy to the perception. When a specific image is seen the form will dominate and the rules become unneeded.
Welcome to Museum Campus Chicago. 2002. Chicago Park District. 4 December 2002
The work talks about the value of Chicago’s Museum Campus collectively and individually. Each institution: Adler Planetarium, The Field Museum and The Shedd Aquarium is discussed historically, presently, and within the context of the park system. The attractive exhibits and displays are discussed, while future modifications and additions are outlined.
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