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Sensuous Qualities in Architectural Space

The document discusses the sensory qualities of public spaces through an analysis of different physical elements. It analyzes how visitors interact with signature buildings, monuments, sculptures, green spaces, water features, and utilitarian elements through their five senses. It finds that visually pleasing signature buildings and monuments attract the most social interactions like conversations and photo taking. Water features and trees spark less usage variations while appearances of animals greatly stimulate sensory patterns. The document concludes that public spaces can foster imagination, adaptability of interactions, and social connections through a multisensory design approach that combines different elements to challenge preconceptions.

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1K views34 pages

Sensuous Qualities in Architectural Space

The document discusses the sensory qualities of public spaces through an analysis of different physical elements. It analyzes how visitors interact with signature buildings, monuments, sculptures, green spaces, water features, and utilitarian elements through their five senses. It finds that visually pleasing signature buildings and monuments attract the most social interactions like conversations and photo taking. Water features and trees spark less usage variations while appearances of animals greatly stimulate sensory patterns. The document concludes that public spaces can foster imagination, adaptability of interactions, and social connections through a multisensory design approach that combines different elements to challenge preconceptions.

Uploaded by

jarih
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PPTX, PDF, TXT or read online on Scribd
  • Cover Page: Introduces the document, listing the main topics of sensuous quality, vocabulary of space, and sensuous form.
  • Inspirational Quote: Features a quote by Kevin Lynch emphasizing the unseen and experiential aspects of architecture.
  • Environmental Images: Explores the concept of environmental images and their interaction with the observer's perceptions and purposes.
  • Sensuous Geography: Examines how senses interact with built environments, focusing on spatial orientation and sensory qualities of places.
  • Lefebvre's Spatial Theory: Discusses the social production of space according to Lefebvre, emphasizing spatial practice, representational spaces, and the conceptual triad.
  • Categories of Physical Entities: Classifies physical entities into aesthetical, natural, utilitarian, and commercial elements, describing their sensory impacts.
  • Key Sensory Attributes: Outlines critical attributes in sensory planning such as imagination, interaction, and connection to enhance spatial experiences.
  • Vocabulary of Space: Defines spatial vocabulary, exploring elements like ground form, water feature interactions, plant materials, and site detailing, enriching spatial planning.

TOPICS:

5.3 SENSUOUS QUALITY


5.4 VOCABULARY OF SPACE
5.4.1 SENSUOUS FORM

PREPARED BY:
BALDELAMAR, ERLAN MAE
MENDOZA, JUDY ANNE
Environmental images are the result of a two-way
process between the observer and his environment.
The environment suggests distinctions and relations,
and the observer – with great adaptability and in the
light of his own purposes – selects, organizes, and
endows with meaning what he sees.
 For Henry Lefebvre, the human body is
considered to be a crucial “mediator of the
coexisting, concording and interfering relationship
between the three elements that constitute the
social production of space. The conceptual
triad developed by Lefebvre proposed a way to
interpret the sensorial and socio-qualities of
spaces.
 refers to the mundane/daily routines of
“sequences, habits and patterns of movement in
and through physical places” (Carp 2008, 132)
that generate sociable aspects of spaces. The
physical structure of the place/space can be
directly sensed by human body through the five
sensory receptors.
 refers to the abstract yet rational space defined by
“planners, bureaucrats and architects”
(ibid).Representations of space conveys the
conceptual mindset from the views of the authorities.
This also suggests a sense of social order. When
this space is being engaged by the users, it is
considered as a “conceived space” as it involves
“thinking, imagining, reflecting on an idea, analysing,
planning…shaping and reshaping an inchoate
thought into expression, as either individual or
collective activity, including both ideational synergy
and conflictual perturbations”.
 refers to the personal/ individual aspects of social
space in the sense that the particular spatial entity is
first experienced, conceptualized and finally lived
through the unifying of the material space with
individual’s psychological space. The space is of the
“imaginary geographies” (Lefebvre 1991; 39) that is
actively generated through personal comprehension
of that particular spatial entity. It is through this
superimposition of one’s own experiential reflection
towards the tangible spatial entity that one turns the
space into a lived one.
signature buildings, monuments, sculptures and
sculptural stands.

presence of water, green open space, flower bed,


trees, shrubs and animals.

bicycle stands, traffic bollards, light poles, seating,


stairs and steps.

nearby outdoor/indoor dining, retail, restaurants and


hotels.
 Generally, visually pleasing signature buildings
along with monumental sculptures appeared to be
regularly engaged by visitors in a way that the
majority of users congregate around these
physical entities very frequently. People gathered
in front of these physical elements, having
conversations, waiting for others, taking photos
and observing the surroundings
 Elements of water features attracted different sensorial
responses among various user groups. Water features share
similar sensorial patterns with monuments and sculptures.
People performed ranges of social activities around them but
rarely physically interact with the physical entities. Adults
with children or pets tend to engage with the water feature
more. When children and pets were attracted to the water
feature, adults would divert their original walking routes
towards the water.

Moreover, existence of trees and shrubs seemed to attract


less usage variations around them, whereas appearances of
animals had greatly sparked a variety of sensory patterns.
For all the sites, there were little differences in the preference
of weather to sit/wait/eat/have conversations under/near the
tress or not.
 Speaking of utilitarian elements, most of them,
although not designed intentionally,
accommodated multiple usages other than the
designated functional needs. Large amount of
visitors utilised elements such as bicycle stands,
traffic bollards, stairs and steps as an area to sit,
have conversions, take nap, meet for others and
lean against.
 Commercial entities located near or besides the
squares were often part of the reasons people
visiting the squares. Hence, a majority of visitors who
spent longer time there were people who dined at
the outdoor cafes/[Link] also exist
between retails/shopping precincts and the public
area, where people rest in the squares in between
each shopping spree.
The sound of music, smell of food and perfume also
contributed certain sensuous qualities for the overall
environment of the squares.
 Ability to afford imagination
(spontaneity)
 Ability to adapt interaction (usability)
 Ability to foster connection (locality)
 While visual aesthetic is the most obvious sensory
tactic, other senses, too, when triggered appropriately
can be utilised to assist in creating certain atmospheric
effects. Elements of surprise can be utilised through a
multisensorial approach to foster and sparks
imaginations. For example, aesthetic, natural, utilitarian
and commercial elements can be combined and
integrated in a way that challenge users’
preconceptions of certain spaces. Hence, this
affordability of imagination helped the visitors to shape
their “imaginary geograph[y]” (Lefebvre 1991, 33),
attaching special meanings to the place.
 Social interactions are other significant aspects
that one should consider when dealing with the
design and planning of physical elements in public
spaces. As the results have shown, many social
interactions were happening around and in
between different categories of physical elements.
 The third key attributes that may contribute higher
multisensorial affordability is “connection”.
Stronger physical and visual connections between
each category of physical elements, not only
provide a directional ease for the visitors, but also
offers opportunities for people to observe and be
observed by the others.

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