Perceived Sensations in Architectural Spaces through Immersive Virtual Reality

To design architectural spaces that not only respond to the basic needs of users, but also seek their emotional well-being, it is necessary for the architecture students to have a special sensitivity and be aware of the different sensations that their designs should and can evoke. To achieve this competence without exploring real spaces, Immersive Virtual Reality technology offers an important contribution to the field of architecture. The purpose of this research is to determine if the sensations perceived in virtual architectural spaces by students are similar to the real ones and to determine the characteristics of this technology that allow a better perception of sensations. Six architectural modules were designed to be walked through and experienced at real scale using a Head Mounted Display by 22 students of the first and fifth year of studies of Architecture career in Peru. An ad-hoc questionnaire allowed to know the perceived sensations and the benefits of the tool. The results obtained showed that the perception of sensations of the fifth year students is a little closer to those expressed by a group of seven experts compared to that of the first year students and that the students consider the characteristics of accessibility, real scale of the space and the possibility of going through and looking at the space in all directions are those that have given more realism to the experience and therefore better perception of the space, while the characteristics of natural light and shadows, construction materials and external environment have been less valued in the realism of the experience. It is concluded that the sensory experimentation in architectural spaces modelled realistically in virtual environments allows the perception of sensations very similar to those that the architect seeks to convey initially.

Architecture for Music : Sonorous Spaces in Sacred Buildings in Renaissance and Baroque Rome

Architectural spaces are usually considered only in their visual and threedimensional character. However, the proper experience of space is multisensory. Sonority is undoubtedly the non-visual characteristic that most affects architecture, influencing its three-dimensional shape, and the size and distribution of its individual parts. Early modern sacred architecture is a case in point. Focusing on Rome and the development of architecture in relation to musical practices, this article demonstrates how architectural forms evolved through a process that ranged from provisional installations to the design of entirely new churches and oratories. In the Baroque period, these religious structures were conceived as synaesthetic spaces of sonority and architecture, in which vision, hearing and liturgical acts merged in an expressive unity.

Mutual interaction between literature and architectural space

Examples of the interaction of literature and architectural space are considered in this article. The considered examples demonstrate the role of literature in solving various architectural problems. For example, social tasks related to the safety of the urban environment, in the creation of a unique image of the city, the development of stylistic trends, environmental problems. Human perception of architectural space, described in the literature, can make an invaluable contribution to scientific research in the social and humanitarian direction. The description of architectural spaces allows us to identify the level of comfort, the influence of architectural objects and landscape on people, the correspondence of the urban environment to the worldview of the townspeople. Both directions have huge scientific potential in research activities. The result of this research is the interpretation of the literary description of the subject environment of applied folk art in a modern interior. The architectural space has a scenic character reflecting the literary descriptions of the yurt's interior. This approach can be used as the main direction in the development of the concept of architectural spaces for different functional purposes. This article examines an example of a kindergarten organized according to the principle of "the walls teach".

Colour Sense Considered. The analysis of colour, light and volume in interior architectural spaces.

<p>This thesis examines the spatial comprehension and perception of architectural interior spaces through the diverse variables of colour, light and volume. The research methodology is through experimentation, adapted from the Stanford design thinking innovative design analysis process. The purpose of this research is to understand the effects of manipulating colour, light and volume in architectural interior spaces. This will be explored through various design strategies and techniques to achieve the desired experience and human emotional response in a positive atmospheric manner. This will allow architects and designers interested in applying colour, light and volume more efficiently within the interior built environment with the purpose to achieve certain atmospheric qualities and experiences. This thesis will be of particular interest to those designing to create atmospheric qualities and human emotional driven responses in interior architectural spaces. Pleasant and stimulating are the key human emotional responses that the research experiments and observations focus on.</p>

Colour Sense Considered. The analysis of colour, light and volume in interior architectural spaces.

<p>This thesis examines the spatial comprehension and perception of architectural interior spaces through the diverse variables of colour, light and volume. The research methodology is through experimentation, adapted from the Stanford design thinking innovative design analysis process. The purpose of this research is to understand the effects of manipulating colour, light and volume in architectural interior spaces. This will be explored through various design strategies and techniques to achieve the desired experience and human emotional response in a positive atmospheric manner. This will allow architects and designers interested in applying colour, light and volume more efficiently within the interior built environment with the purpose to achieve certain atmospheric qualities and experiences. This thesis will be of particular interest to those designing to create atmospheric qualities and human emotional driven responses in interior architectural spaces. Pleasant and stimulating are the key human emotional responses that the research experiments and observations focus on.</p>

WithDrawing: An Investigation into How the Iterative Process of Hand Drawing Can Influence the Design of Buildable Architectural Spaces That Are Responsive to the Contemporary Blurring of Traditional Programs, Typologies, and Contextual Conditions

<p>In the early 21st century environmental, social and cultural changes are confronting the traditional relationship one has with technology, space and subsequently architecture. More specifically the tools of design are becoming integrated, whereby the clarity of tradition is becoming overlapped, becoming blurred. With this in mind the research investigates the opportunities of an iterative hand drawing process to develop architectural responses to movement, time and transformation. Highlighting a future which is inevitably changing, it is important to assess the inherent qualities of our design tools, as they too influence the connection and formation of architectural space. The research explores hand drawing through a design process which firstly, challenges drawn representation techniques and secondly, emphasises movement and transformation as key architectural drivers within the 21st century. Due to the continual developments within technology, construction practices and design materials, there is an opportunity to question and reflect our changing built environment and hence, the role of movement in architecture. With reference to the theorists Catherine Ingraham and Robin Evans, the research develops the position that the practice of architecture has become restricted by linear ordering systems. This is reflective in the orthographic representation of architecture alongside the built edges and boundaries of architectural spaces. Therefore, today's transforming conditions are used to validate and further articulate Ingraham's and Evans's theories, outlining a design response, using Wellington as a case study, built upon overlaying environmental, social and cultural relationships. The architectural outcome connects rather than dissociates itself to transforming conditions, creating multiple rather than singular boundary conditions through architectural blurring. Traditional relationships to spatial boundaries and edges are critiqued through the ambiguities and layers of working within an iterative hand drawing process. The influence of hand drawn qualities has provided a way to insert motion into a construct which is perceptually static, hence introducing a means to negotiate and work within a period of transition.</p>

WithDrawing: An Investigation into How the Iterative Process of Hand Drawing Can Influence the Design of Buildable Architectural Spaces That Are Responsive to the Contemporary Blurring of Traditional Programs, Typologies, and Contextual Conditions

<p>In the early 21st century environmental, social and cultural changes are confronting the traditional relationship one has with technology, space and subsequently architecture. More specifically the tools of design are becoming integrated, whereby the clarity of tradition is becoming overlapped, becoming blurred. With this in mind the research investigates the opportunities of an iterative hand drawing process to develop architectural responses to movement, time and transformation. Highlighting a future which is inevitably changing, it is important to assess the inherent qualities of our design tools, as they too influence the connection and formation of architectural space. The research explores hand drawing through a design process which firstly, challenges drawn representation techniques and secondly, emphasises movement and transformation as key architectural drivers within the 21st century. Due to the continual developments within technology, construction practices and design materials, there is an opportunity to question and reflect our changing built environment and hence, the role of movement in architecture. With reference to the theorists Catherine Ingraham and Robin Evans, the research develops the position that the practice of architecture has become restricted by linear ordering systems. This is reflective in the orthographic representation of architecture alongside the built edges and boundaries of architectural spaces. Therefore, today's transforming conditions are used to validate and further articulate Ingraham's and Evans's theories, outlining a design response, using Wellington as a case study, built upon overlaying environmental, social and cultural relationships. The architectural outcome connects rather than dissociates itself to transforming conditions, creating multiple rather than singular boundary conditions through architectural blurring. Traditional relationships to spatial boundaries and edges are critiqued through the ambiguities and layers of working within an iterative hand drawing process. The influence of hand drawn qualities has provided a way to insert motion into a construct which is perceptually static, hence introducing a means to negotiate and work within a period of transition.</p>

Wisdom and Mystical Thoughts on The Mirror-Tiles Art in Safavid Architectural Space and its Relationship With Sufism

The Mirror-tiles artwork is one of the latest initiatives of Iranian spiritual art which with its symbolic expression and mysterious character, conveys the revelations and mystical thoughts in the cover of matter and form to its audience and affects them consciously and unconsciously. This art is an esoteric language to convey intuitive concepts and to remind the way of their inherited life from the predecessors as traditional art has always been based on symbols and allegories and expresses the spirit of its time. The first peak of the Mirror-tiles used in architectural spaces in Iran coincided with the fusion of Sufism and Shi’ism in the early period of the Safavid Empire. The Safavid dynasty had Sufi roots and lineage, and among the Sufis, the inner language is the language of Shari’a and Truth, and the tools of that language are the symbol and indication. Has been rejected or neglected due to a lack of interest and attention to the registration of special documents, the secrets governing this system, new historical conditions, and profound and obvious developments in the realm of contemporary history. With the aim of the influence of the Persian mystical thoughts about the Mirror, this study with the available historical and contemporary sources and analyzing them deals with the hidden meanings in this art and reveals its connection with Sufism and Mysticism through mystical literature and its historical process.

Dynamic experience of architectural forms affects arousal and valence perception in virtual environments

The built environment represents the stage surrounding our everyday life activities. To investigate the impact that architectural features have on individuals’ affective states, we measured their judgments of perceived valence (pleasant and unpleasant) and arousal after the dynamic experience of a progressive change of the environment within virtual decontextualized spaces. To this aim, we developed a parametric model which allowed to create 54 virtual architectural spaces characterized by a progressive change of side walls distance, ceiling and windows height as well as colour of the environment. Decreasing side walls distance, ceiling height variation as well as increasing windows height significantly affected the emotional state of the participants within virtual environments. Indeed, such architectural spaces generated high arousing and unpleasant states according to subjective judgement. Overall, we observed that valence and arousal scores are affected by all the dynamic form factors which modulated the spaciousness of the surrounding. Showing that virtual reality enables the possibility to measure the emotional impact of pure and decontextualized architectural features, we contribute to foster a human-centered approach to design where mental state of people is fundamental for the creation of novel spaces promoting wellbeing.