Physiological and Psychological Responses

To Prepared Architectural Space

Felix Gottdiener, Hunter College Master of Urban Planning

Abstract

This paper focuses on research into the physiological and psychological response to
a specific architectural situation. Research trials were carried out within a gallery
installation whose themes dealt with perception and its distortion through the use of
mirrors and architectural form. The installation was designed independently of the
experiment. Exposure to this architectural situation was the independent variable and the
subjects physiological and psychological response was the dependent variable for the
study. Physiological response was measured as the subject traversed the installation
through pulse readings taken at three locations. Psychological response was measured
through a short survey given at the end of the installation. The installation was entitled
Threefold, and was created by the artist Natasha Johns-Messenger and curated by Melissa
Bianca Amore. The gallery hosting Threefold was El Museo de Los Sures, in Williamsburg,
Brooklyn.

Introduction

Many volumes have been written critiquing architecture from an aesthetic

standpoint. However, we still have made very little investigation into the way architecture
affects the individual. What research has been done typically investigates architecture from
a functional standpoint, from the exterior mechanisms in which an individual relates to
architectural form (Koytek 2005, Le Roux 2002). This research is necessary, but what of
internal mechanisms? What about the inner response to architecture, both of the mind and
body? Some of the most salient exploration of this terrain has come from artists working in
the perceptual realm, such as James Terrell and the Light and Space movement 1.

There is an existing body of research on the human response to architecture.

However much previous investigation in this area has utilized models or even virtual
simulations to mimic the experience of architectural form (Alp 1988, Bermudez 2014,
Weber 2002). Unfortunately such studies can only approximate the real experience of
being immersed in a spatial environment. The individuals response to architectural
models may be interspersed with the response to the laboratory setting they are viewed in.
For true investigation into responses to architectural form the laboratory and architectural
situation must be one and the same. This is the genesis of the experiment described in this
report.

1
Craig Adcock, James Turrell: The Art of Light and Space, (Oakland, CA: University of California Press, 1990).

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 Our hypothesis was that the Threefold installation would have an effect on the
subject that was both physiological and psychological. Furthermore, we were interested in
the perceived relation to other architectural spaces within New York City, and the subjects
commentary on their experience within Threefold. In designing the nature of this
experiment we realized that it may be difficult to extricate the effects of immersion within
Threefold with the nominal psychological and physiological state of the subject, or by the
effects of participating in the methods of the experiment itself. These reservations colored
our results, however we feel this experiment is an important preliminary step towards
further investigations into this subject matter.

Setting

The Threefold installation is a unique exhibition created by the artist Natasha Johns-
Messenger, who has been creating art installations that play with the individuals
perception of space since 2004. About her intentions behind the Threefold installation she
has said, "My initial response to the space was to create a viewing corridor that extends the
space from the inside back to the outside, with the aim of returning the viewer back to the
point of entry." 2 El Museo de Los Sures is a roughly rectangular space. Upon entering the
gallery the observer sees the entrance to the installation directly in front of them, which
appears simply as a long corridor. To their right is a small reception area, with a table and
an inscription describing the installation, artist, and curator. Upon entering the corridor to
the exhibit the participant is immediately immersed in the perceptual world that Johns-
Messenger has created. The long corridor that greeted the observer upon entering the
gallery space is almost immediately revealed to be simply a reflection within four different
mirrors. This introduces a theme that is returned to again and again within the Threefold
installation, that of the creation of architectural space within the mind of the observer.
Much of the form within the Threefold environment exists within the perception of the
participant, rather than in the actual layout of the gallery.

After passing through two right angles containing 45 degree mirrors, the observer
comes to a fork in the installation. At this point they can choose one of two passageways.
Taking the left passageway leads to two more right angles, again containing respective 45
degree mirrors. Once these are crossed the individual finds themselves in a more open
chamber, this time containing several mounted works by the artist. Figure 1 on the next
page shows the view from the first hallway, and Figure 2 shows the final room with the
three mounted works.

2 th
Natasha Johns-Messenger, Threefold Press Release, Released by artist September 17 , 2015.

2
 Figures 3 and 4 show the layout of the Threefold gallery and the path taken by
experimental participants.

If the right passageway at the fork after Mirror 2 is chosen the observer crosses two
more right angles containing 45 degree mirrors, finally arriving at a small window where
the front of the gallery can be glimpsed. The right passageway was not chosen as part of the
experimental trial, as a decision was made to simplify the experiment by having
participants follow only one path through the installation.

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 Methodology

The experiment was designed to collect both quantitative and qualitative data
regarding the participants experience of the architectural space contained within the
Threefold installation. This was done in order to obtain a more well-rounded conception of
their response, as well as to obtain data regarding both physiological and psychological
reactions. The quantitative, or physiological data, consisted of pulse readings taken by
experiment practitioners at three points during the subjects negotiation of the installation.
The qualitative, or psychological data, consisted of a short survey taken at the conclusion of
the experiment.

Participants

There were 14 participants in the experiment, over the course of two days. Trials
were conducted on Monday, November 9th, 2015, from 6-9 PM, and Tuesday, November
10th, from 10 AM-1 PM. Eight people participated in the experiment on Monday and six
people participated on Tuesday. The participants were chosen through announcements
placed on the websites Facebook.com and Craigslist.com. There were five male and nine
female participants, ranging between twenty and forty-five years of age. All subjects were
fully informed about the nature and purpose of the experiment.

Data Collection Procedure

Upon entering the El Museo de Los Sures gallery, the participant was directed to sit
at the small table in the reception room. At this point a timer of sixty seconds was started,
in order to bring the subject to a resting state. After sixty seconds had passed the subjects
radial pulse was read by a practitioner, by placing two fingers on their left arm below the
wrist. The pulse count was taken over a
twenty second interval, which was
multiplied by three to get the pulse rate
over sixty seconds. Figure 5 shows the
location of the first and two subsequent
readings.

After having their pulse read

initially the subject was directed to
enter the Threefold installation. They
were not given any special instructions,
but rather left to maneuver through the
space under their own volition. After
passing the second corner with its
respective mirror, another practitioner
interrupted the subject and immediately
took their pulse again, in the same
manner as the first station. A sixty

4
second rest interval was not used, unlike the first and third station. This was so that the
subjects immediate reaction to being immersed in the Threefold environment could be
measured, without being diluted by a rest interval. After taking the pulse a second time the
subject was directed to turn left and continue proceeding through the installation.

After passing the final two mirrors the subject arrived at the final room of the
Threefold installation, containing the three mounted works. Here they were stopped by a
third practitioner, who started a sixty second timer in order to once again return the
participant to a resting state. This rest interval was used in order to compare the subjects
resting state after passing through the installation with their initial resting state. After sixty
seconds had passed the subjects pulse was again read, in the same manner as the first two
times.

Once the final pulse reading had taken place the subject was given a short survey to
fill out. For each question the subject was directed to fill out the circle that most closely
resembled their experience. There were five circles, ranging across the scale of Strongly
Disagree Disagree Neutral Agree - Strongly Agree. The questions of the survey were
as follows:

Question #1: My perception of space was distorted by the Threefold installation.

Question #2: I have had an emotional response to the Threefold installation.
Question #3: The Threefold installation reminds me of other architectural spaces in New York City.

Finally a blank was provided in which the subject could leave comments on their
experience in the installation and experiment. Responses were collected anonymously so
that the identification of subjects would not color their response. Figure 6 shows re-
enactments of the three pulse readings.

Figure 6: The Three Pulse Readings

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Data Analysis Procedure

The pulse readings taken from each subject were used to create a model of their
physiological response to the installation. By graphing each subjects pulse rate over the
three stations, we can create a model of their bodys reaction. Using a sixty second interval
of rest before readings in the first and third station also allows us to compare the subjects
resting state before entering the installation with their resting state after passing through
the Threefold installation. By examining data from the first and third station we can make
a comparison between the physiological effect of the subjects everyday life with the effect
of immersion within Threefold.

Since the surveys were taken anonymously, the physiological response of the
subject was not tracked to a specific psychological response. The anonymity of the
psychological response survey encouraged honesty within question responses. By
comparing the responses of subjects to the experimental survey we can see the
psychological effect of the Threefold installation on the participants individually and as a
group.

Results

Because of the anonymity of survey data, physiological and psychological data

received from the experiment is considered independently. However, the overall
independent variable is still immersion within the Threefold environment, while the
dependent variable is the individuals reaction, whether physiological or psychological.

Physiological Data

The following charts show the pulse readings by Station for each subject, as well as
the average pulse rates for each Station.
Figure 7: Pulse Rates By Station and Averages

6
 As is evident from this chart, there was considerable fluctuation among pulse rates,
both at the initial reading and subsequent ones. However, we can identify general trends
showing the Subjects change in pulse rate over the course of the installation.
Figure 8: Average Percentage Change In Pulse Rate

Figure 9 depicts the movement of Pulse Rate for the different Subjects in line chart
form. We can see the general trend of an increase in pulse from Station #1 to #2 as the
subject encounters the perceptual distortions of Threefold, as well as a leveling off once
they enter the final chamber of the installation at Station #3.
Figure 9: Line Chart of Pulse Rates By Station

Threefold Pulse Rates By Station

130

120
Subject #14
Subject #2
110
Subject #9 Subject #12
100
Subject #3 Subject #11
Pulse Rate

90
Subject #4 Subject #10
80
Subject #7
70
Subject #8
Subject #13
60
Subject #5
50
Subject #1 Subject #6
40
Station #1 Pulse Rate Station #2 Pulse Rate Station #3 Pulse Rate

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 Figure 10 below depicts an isopleth map showing change in average pulse rate over
the course of experimental conditions.

From the isopleth we can see the change from a resting state at Station #1, to an
inflation of the pulse at Station #2, to a gradual easing of the pulse rate by Station #3.

Psychological Data

Figure 11 on the next page shows the three survey questions given to participants,
and the counts for responses for each element in the scale.

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 Figure 11: Survey Responses

The survey responses indicate some level of perceptual change resulting from the
experience of Threefold, as well as an emotional response. In addition we see a slight trend
towards the perception that Threefold is different from other spaces within New York City.
It is difficult to quantify an emotional reaction; however we can examine the comments left
by participants juxtaposed with their survey responses in order to produce a rough rubric
of these participants individual experience.

Figure 12: Individual Survey Responses and Comments

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 From these responses we can see the diversity of reactions to the perceptual world
of Threefold.

Evaluation of Results

When we examine the average pulse rates from Figure 7, we find an increase in
average pulse rate from Station #1 to Station #2, and a decrease in average pulse rate from
Station #2 to Station #3. We also find an average increase in pulse rate from Station #1 to
Station #3. In order to determine whether these results were statistically significant a
1-tailed t-test was performed. Figure 13 shows the results of this t-test.
Figure 13: Results of Paired Sample for Means T-test

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 All t-tests were conducted based on a significance level of 5%. When we examine the
findings we see that the increase in average pulse rate from Station #1 to Station #2 was in
fact statistically significant. Significant as well was the residual increase in pulse rate from
Station #1 to Station #3, throughout the course of the experiment. Only the decrease in
average pulse rate from Station #2 to Station #3 was not deemed to be statistically
significant.

What are the causes of the increased pulse rates from Station #1 to Station #2, and
from Station #1 to Station #3? Physical activity is a common catalyst for increased pulse
rate 3. We also know emotions can result in increased heart activity. 4 There are several
possible architectural explanations for the increase in pulse, such as perceptual
disturbances caused by the mirrors within Threefold, or the act of negotiating the
passageways of the installation. The effect of the physical activity of walking as well as that
of having an experiment practitioner read your pulse is also likely to factor into the effect.
These are all possible experimental conditions that could factor into the increased pulse
rates shown by participants within the Threefold installation as opposed to their normal
life.

We also see indication of a decrease in pulse rate from the second Station to the
third Station, although this was not found to be statistically significant. Possible
explanations for reduced pulse rates shown at the third Station include the resting interval
of sixty seconds undertaken before the reading. Another possible factor is the calming
effect of contemplating the mounted works within the final room of Threefold.

Overall our findings indicate a definite physiological response to exposure to the

conditions within Threefold. Even the short immersion within the Threefold environment
during the course of the experiment had a noticeable and statistically significant effect
upon pulse rate. This suggests that there are definite physiological responses to the
architectural environment, as well as to artistically prepared space such as that
experienced within the Threefold installation.

When we examine the psychological data from Figure 11, we see that 85.7% of the
responses to Question #1 were Agree or Strongly Agree, indicating the experience of
spatial distortion within Threefold by participants. Likewise, 64.3% of responses to
Question #2 were Agree or Strongly Agree, suggesting an emotional response by
subjects to the Threefold installation. In Question #3 50% of responses were Strongly
Disagree or Disagree, indicating that the Threefold installation did not remind at least
half of the subjects of other architectural spaces within New York City. From the comments
we see the diverse individual reactions produced by exposure to experimental conditions.

3
W.J. Young, et al., Effect of Exercise and Humid Heat upon Pulse Rate, Blood Pressure, Body Temperature, and
Blood Concentration, Proceedings of the Royal Society of London, Vol. 91, No. 636, (1920), 112.
4
Michael Miller, The Effect of Mirthful Laughter on the Human Cardiovascular System, Med Hypotheses 73
(2009) 636-645.

11
 Because of limitations on time and funding these experimental trials were
conducted without a control group. Even still it is difficult to define what such a control
group would be. Average resting pulse rate can range from 60 to 100 beats per minute
depending on a persons age and fitness level 5. One potential control could be each
participant sitting at a table for the typical duration of an experimental trial (10-15
minutes). Pulse readings could be taken at intervals equivalent with the average intervals
during experimental trials. This would create a workable experimental control, yet one that
is not without flaws.

Even with such a control, it would be difficult to extricate the specific effects of the
Threefold installation from other environmental factors. Even walking normally for a time
period equivalent to the experimental trial is likely to have an effect on pulse rate. There is
also the effect of negotiating architectural space such as a hallway, even without the artistic
environment created by Johns-Messenger. Finally there is the effect of having ones pulse
taken by another person, which may affect the pulse rate in itself. New technologies such as
the FitBit allow real-time monitoring of the individuals pulse rate through a computerized
wrist-band. It is this and other such measures to calculate the specific effect of architectural
forms that must be considered in future experiments.

Conclusion

What is the meaning of architecture? Is it simply the creation of functional

environments in which to carry out our daily activities? Is it an attempt to introduce artistic
forms into everyday life? Can it be both? The question posed by our experiment was
whether the installation of Threefold would have an effect on the individual, whether
physiological or psychological. Our data indicates such an effect was felt in both categories.
Increased pulse rate during exposure to Threefold were found to be statistically significant.
This indicates an excited physiological state as a result of experimental conditions. Survey
responses indicate definite psychological reactions. However the physiological influence of
the Threefold installation is difficult to isolate from other environmental factors, such as
engagement in having ones pulse read. Similarly on the psychological level our survey
indicates distortions of perception and emotional responses resulting from exposure to
Threefold. Yet what were these specific emotions, or perceptual changes? What were the
physiological responses to specific components with the Threefold design? What is the
distinction, if any, between real architectural space and that created by perception-
distorting mechanisms such as the mirrors within Threefold? Much further research must
be conducted.

Acknowledgements

In conducting this research I was assisted by the invaluable advice of Pablo

Vengoechea and William Milczarski, my professors at Hunter College. Pulse readings were
taken during the experiment by myself and my fellow Urban Planning students Nick
5
Richard F. Gillum, Epidemiology of Resting Pulse Rate of Persons Ages 25-74, Public Health Reports, Vol. 107,
No. 2 (1992), 194.

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Legowski, Diane Luebs, and Cindy Penn, as well as by Sophie Thwaites. I am especially
grateful to Natasha Johns-Messenger and Melissa Bianca Amore for allowing this research
to take place within the Threefold installation.

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