Theory of Architecture

Perceptions in architecture Experience of architecture in basic psychological and physiological

terms. Way in which human minds and bodies respond to texture, colour, space, light and other
architectural elements.

The building is a machine able to produce some human reactions predetermined.

ZUMTHOR, Peter ; Thinking Architecture, 2005

Architecture is experiential and thus is understood through individual perceptions. How a place
manifests itself is very dependent on the scope through which we view it. This understanding is
subjective.

The physiological is the change in the physical properties of the person, psychological being the
subjective experience while the behavioural is manifest by the physical actions such as approach
and avoidance, each of these associated with specific measures.

Physical control

Architects and designers are in a position where they can cleverly put into practice physical
structures to direct or prohibit certain behaviours or activities within a given space. These
architectures of control can be as simple as the implementation of fencing, gates and pathways to
lead people in certain directions or prevent them from accessing restricted areas. Furthermore,
architectures of control can be far more specific in terms of certain designs. For instance, in
educational environments, windows are often placed at certain heights to prevent students from
becoming distracted by events outside. Although often unnoticed, these physical considerations
play a valuable role in maintaining order within the built environment.

Psychological control

The idea of shaping behaviours through the psychological effects of architecture is a very clever
tool used in design. Often this element of control is harder to distinguish and can even be
overlooked by the public. The most common example would be the use of particular colours to
influence the mood of the user. For instance, pink is known to have a calming effect, and for this
reason is often used within prison facilities to control the mood of the inmates. Similarly, stadiums
have been known to paint the locker rooms of the opponents in shades of pink to keep players in a
more passive and less energetic state. Users are often unaware of the psychological effects of the
surrounding architecture, and for this reason, are often very successful at shaping user behaviours.

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 Space

Space perception is the process through which humans and other organisms become aware of
the relative positions of their own bodies and objects around them. Space perception provides
cues, such as depth and distance,etc..,. that are important for movement and orientation to the
environment. The perception of space is not based exclusively on vision.

The visual space is supplemented perceptually by cues based on auditory (sense of hearing),
kinesthetic (sense of bodily movement), olfactory (sense of smell), and gustatory (sense of
taste) experience.

Spatial cues, such as vestibular stimuli (sense of balance) and other modes for sensing body
orientation, also contribute to perception. No single cue is perceived independently of another;
in fact, experimental evidence shows these sensations combine to produce unified perceptual
experiences.

Psychological and physiological impact

Psychologist Joan Meyers-Levys experiment:

The relationship between ceiling height and thinking style-when people are in a low-ceilinged room,
they are much quicker at solving anagrams involving confinement, such as bound, restrained
and restricted. In contrast, people in high-ceilinged rooms excel at puzzles in which the answer
touches on the theme of freedom, such as liberated and unlimited. According to Levy, this is
because airy spaces prime us to feel free.

Sense of space

Too little space gives a feeling of being exposed.

Large enclosed spaces can give a feeling of being lonely.
Space is affected by the number and sizes of objects around it.
Many objects scattered in a space without logical organisation may destroy the spatial
quality of the space and disturb the unity of the space.gradual cgange in spaces is pleasant
while sudden transition shifts the eye from one view to another without creating a smooth
transition.
 Space here is defined by the roof
alone which creates a
boundary on the floor.

the space boundary feel of being

enclosed has been achieved by the
circular space though there is no
roof.
 Texture

Texture is the perceived surface quality of any work of art.

In architecture, texture appeals to sight as well as to touch.
Words used to describe textures include Ribbed, Crinkled, Rough, Smooth
Often patterns or colours are used to create the illusion of texture.
Smooth surfaces reflect more light than rough surfaces, making them look lighter and brighter.
They also give a modern look to buildings.
Rough surfaces absorb more light, making them look darker and less intense. They are rugged
and look more natural.

Exterior metal faade of Disney

Park Guell Barcelona,
Concert Hall, Los Angeles
Spain

A room with the same texture throughout is monotonous, but too many different textures
can appear disjointed and distracting.
Most well-designed rooms have a dominate texture with accents of contrasting textures.
Texture plays a dual role in architecture: it expresses something of the quality of materials,
and it gives a particular quality to light. Although one absorbs both qualities simultaneously
by eye, the first has tactile, the second visual associations.

Specific tactile textures are peculiar to every material by virtue of its manufacture or natural
composition, but they may be altered to produce a variety of expressive qualities. Any stone
may be used in its natural, irregular state, or it may be chiselled in a rough or smooth
texture or highly polished to convey a range of meanings from vigour to refinement.

Visual textures are produced by the patterns given to the lighting of the surface both
through the way the materials are worked (e.g., vertical or horizontal chiselling of stone)
and through the way they are employed in building (e.g., vertical or horizontal boarding,
projection and recession of courses of brick). Like all patterns, visual textures create
associations of movement, giving rhythm to the surface.

A single texture is rarely employed in building. The variety of materials and treatments
typically produces a complex of textures that must be composed and harmonized like the
forms and spaces of architecture into a consistent expressive whole.

National centre for

Stone house Forest spiral
performing arts, china
 Example : Knock on wood installations and
houses in Chile, USA, Portugal and Spain.
Here the library creates a feel of being in
the forest because
of the texture of the material (wood) used
in that space
 COLOUR

Colour is considered the most important element of design. Colour has an immediate and
profound effect on a design.
Colours are classified under two groups
1. Warm colours
Reds, oranges, yellows
2. Cool colours
Blues, purples, greens
Colours can affect how humans feel and act
The impression of a colour and the message it conveys is of utmost importance in creating
the psychological mood or ambiance that supports the function of a space. (a classroom
has a different function than a hospital patient room)
To mention a few examples concerning colours and what they convey;

PHYSIOLOGICAL EFFECT PSYCHOLOGICAL EFFECT

RED
Increases blood pressure, blood circulation Stimulates body and mind is
and pulse rate also known to be a colour of
vitality and amition
Stimulates the adrenal glands and this helps to Red colour has been shown to be
increase our stamina and thus feel more associated with anger
energetic
Stimulates the sense os smell and taste and Red can be used to get rid of
improves appetite negative thoughts and at the same
time it can also make one irritable

PHYSIO PSYCHO
ORANGE
Increases the immunity power Has got positive effects on our emotions
Beneficial for the digestion and prevents Has positive vibrations on our thought and
formtion of gas in the gastro intestinal tract makes us feel happy
Heals the lungs Orange colour acts as a good
antidepressant
Increases the energy levels

PHYSIO
YELLOW
Sitmulates the verves and brain. This
makes you more alert and decisive
This colour makes muscles more energetic
and activates lymph system
Helps in digestion by stimulating gastric
and intestinal glands
PSYCHO
Helps to uplift the mood and thus is known
is happy colour
It can also be associated with intellectual
thinking: discrenment, memory, clear
thinking, decision making and good
judgment
It hels to build up confidence and
encourages optimism
A dull yellow induces the feeling of fear
 PHYSIO PSYCHO
GREEN
Increases the activity of pitutary glands Creates feeling of comformt,relaxation and
calmness.
Ereduces allergic reactions and prevent Helps us balance and soothe our
decay emotioms
Relaxes our muscles and helps us breath Yet, darker and greyer greens can have
deeper and slower the opposite effects.

PHYSIO PSYCHO
BLUE
Slows down pulse rate, lowers blood Is associated with skly and thus we feel
pressure relaxed and calmed
Blue can be linked to the throat and thyriod Lighter bule make us feel quite and away
glands from the rush of the day.
Lowers body temperature Useful in eliminating insomnia
Deepen breathing and reduce perspiration Inspires mental control, clarity and
creativity
Darker blues are depressing

PHYSIO
WHITE
The white colour spectrum consititute 7
colours of VIBGYOR and hence it include
the effects of all 7 colours
PSYCHO
Colour of ultimate purity
Brings feeling of peace and comfort while it
dis pels shock and despair
Gives a feeling of freedom and uncluttered
openness
Too much white can give feeling of
separation and can be cold and isolated

WHERE TO USE?

1) RED
Perfect for dining area, an accent colour on one wall, or
as the main colour in a small space.
 Used to accent a part of the building

2) ORANGE
Perfect for an entryway, kitchen or as an accent for bookcases
and shelves

Orange for the entryway

3) YELLOW
Perfect for a breakfast nook or to brighten dark hallways
and rooms without windows, for playhomes, schools and
childrens hospital.

Yellow colour for the childrens hospital

4) GREEN
Perfect for a spa, toilets, library, hushed den, bedrooms, study room and meditation halls

green walls and flooring for playhome

green colour for spa

5) BLUE
 Perfect for main bedroom, ceilings, and making small rooms feel larger and for class rooms
(pale shades). Corporate and business designs (dark blues).

Light blue walls

and furniture for Blue colour for ceiling
office rooms

6) PURPLE
Perfect for formal living room, kids room, playhomes

Purple walls for the kids bedroom

EXAMPLE:

The Casa das Artes (House of the Arts) in Miranda do Corvo,

Portugal

Its the colour remains its most striking feature: an endless expanse of vibrant red, standing in
stark contrast to the browns and greens of both its urban and natural context, ensuring its stature
as the iconic landmark.

Psychology and physiology experiments

The psychologists, at the University of British Columbia, were interested in looking at how the color
of interior walls influence the imagination. They performed a variety of basic cognitive tests
displayed against red, blue or neutral coloured backgrounds.

When people took tests in the red condition they were much better at skills that required
accuracy and attention to detail. This is because people automatically associate red with
danger, which makes them more alert and aware.
 The color blue, however, carried a completely different set of psychological benefits. While
people in the blue group performed worse on short-term memory tasks, they did far better on
those requiring some imagination.

LIGHT

The majority of the information that we receive about the world around us comes through our eyes.
Light is not only an essential prerequisite, it is the medium by which we are able to see. Through its
intensity, the way it is distributed and through its properties, light creates specific conditions which
can influence our perception. Lighting design is, in fact, the planning of our visual environment.

Good lighting design aims to create perceptual conditions which allow us to work
effectively and orient ourselves safely while promoting a feeling of well-being in a particular
environment.

Designing with Light

Light plays a central role in the design of a visual environment.
The architecture, people and objects are all made visible by the lighting.
Light influences our well-being, the aesthetic effect and the mood of a room or area.

Our perception of architecture will be influenced by light:

Light defines zones and boundaries,
Light expands and accentuates rooms,
Light creates links and delineates one area from another.

Planning and Process

The basis for every lighting concept is an analysis of the project.
The tasks the lighting is expected to fulfill,
The conditions and special features of a space or work surface.

When it comes to qualitative planning, it is necessary to gain as much information as

possible about the environment to be illuminated, how it is used, who will use it and the
style of the architecture.

A quantitative design concept can to a large extent follow the standards laid down for a
specific task.

Standards will dictate how much light is needed,

The degree of glare limitation,
The source color and color rendering.

The introduction of natural light into buildings makes building occupants have a feel for the
external environment, also has psychological effects. Natural lighting is usually preferred to
artificial lighting because of its health benefits. Lack of sunlight can lead to a condition
known as seasonal affective disorder (SAD), which usually occurs during winter months.
The use of natural light in buildings improves colour rendering, which creates a more
pleasant environment.
 Whenever we enter a new environment, we quickly place it into one of four quadrants that
are defined by the two axes of pleasure and arousal. This structure is shown in the figure
below.

We see a thread of thought that describes the lighting stimulus in terms of some basic modes of
variations and links those variations to the human response of subjective impressions of
environments.