Immersive design report by Bukola Bankole

Creating Immersive Experiences in Interior Spaces: The Design of a Live-Work

Studio

for

a

Resident

Artist.

By: OLABISI OLUBUKOLA BANKOLE 12398034 MA Interior Architecture and Design University of Lincoln, Uk 2015

1

Content

i

Introduction

3-4

Background

5-6

Literature Review Design Framework Research Methodology Conclusion

10-21 22-26 27-30 31

Bibliography

32-36

Appendix

37-38

List of Figures

39

2

It is often discussed that the ultimate goal of

spatial experience

manipulation of

experience

space.

is

the

Everyday,

architecture

we

without

a

second thought, but are we aware of

INTRODUCTION

how the design of different spaces and

atmospheres

physically,

affects

mentally

us and

emotionally?

Leatherbarrow atmosphere,

like

a

(2009) mood,

states

impresses

itself

“An on

experience...”(Leatherbarrow, 2009, 64) As architects, how do we create experiences?

This

paper

employs

a

series

of

questions

to

explore

the

relationship between immersive designs and how users experience them, especially pertaining to interior spaces.

The next section gives an insight into the research considerations in terms of context and thoughts leading to the rationale of this research, exposing the problem and posing questions that come to mind and of course the resulting objectives.

Going further, section three provides a preview into both the externally generated aspects and resulting internal reflections of the users, which will form the bases for the design framework.

As such the Literature review is in three-folds:

• Introduces us to immersive experiences and environments

3

• Gives a brief account of the convergence or connectivity in philosophical

and

psychological

discourses

using

case

studies

and;

• Identifies underlying spatial qualities of immersive experience.

Finally, the investigation is concluded by going over the design framework, considerations and outcomes of the research plan, by using

a

phenomenological

approach

to

arrive

at

qualities

of

immersive design that could be applied in the design project.

4

BACKGROUND

The next section gives more insight into why immersive design has been chosen as the concept and basis for the design with thoughts leading to the resulting aim and objectives.

5

PROBLEM There

is

a

contemporary

discourse

that

architectural

dominates

design

most

(Frank

descriptions

and

Lepori,

of

2007;

GĂŠlinas, 2013; Pallasmaa, 2005) that, architects tend to overlook, neglect, desensitise and undermine the value of spatial experience in their design decisions, and they often distance users/observers from the experiential aspect of architectural space.

This

premise

inspires

the

need

for

a

more

complex,

involving

interior analogue that will bridge the gap between man, his body and space. (GĂŠlinas, 2013, 18)

CONTEXT The concept will be applied in the context of a live-work studio setting, within the West wing of the Art, Architecture and Design building located in University of Lincoln, Uk. In a broader context, Lincoln is predominantly famous for its imposing Cathedral, distinct in character and shaped by thousands of years of history up to the present day. Notwithstanding, The AAD

building

is

one

of

the

few

distinct

buildings

that

have

managed to break out of the historical building convention in the locale, see Fig (1.1). Heritage Connect (2015)

6

Fig 1.1: Picture showing the Lincoln school of Architecture building, in relation to Cathedral from Rick Mather Architects, 2003

Shadowing this movement, the focus of the design will be to create a distinct immersive interior within this modernistic building, that positions the artists' body in terms of experiencing and creating;

a

space

that

is

not

just

functional,

but

serves

as

vessel full of immersive awe-inspiring experiences in a creative context.

I was particularly intrigued by Norman Jackson’s account of an immersive experience: “Being immersed in an experience aids the development of insights, confidence and capabilities for learning to live and work…we are likely

to

work

effectively

and

be

creative

in

immersive

environments” (Jackson, 2008, chapter D6)

7

On

this

note,

I

wanted

to

find

out

more

about

how

people

experience space and how being immersed might create or facilitate artist/observers’ to be inspired from such experiences.

RELEVANCE Contemporary

literature

sources

contain

immersive experiences. However, the focus

frequent

references

of these

to

studies have

been in relation to technology, not as a must-have but as one of the techniques used

for communication of visual

and

conceptual

narratives. According to GĂŠlinas (2014), there is no doubt that digital

immersive

popularity elements

and

of

design

undeniably

immersive

has so,

design.

and

will

gradually In

continue phase

agreement,

to

out

Franck

gain the and

much

natural Lepori

(2007), foresee a further shift from material to digital immersion than ever before. These issues expose a gap in knowledge, and calls for a change in focus from digital to non-digital aspects of immersive design.

8

The

above

insights

have

led

to

an

enquiry

into

architectural

qualities of immersive spaces that preceded technology and the digital age and pose the following question: In what way may non-digital immersive environment stimulate user experiences in a creative live-work studio?

AIM To

explore

the

relationship

between

non-digital

immersive

environment and the resulting user experiences in a creative livework studio.

OBJECTIVES 1. To

define

aspects

of

immersive

design

and

its

spatial

conditions.

- Through secondary research: by using key texts for insight into creating immersive experiences.

2. To

determine

the

qualities

of

a

non-digital

immersive

environment and the extent of external and internal engagement between users and the resulting spaces.

- Through secondary and primary research: by using observatory experiments to test qualities of immersive architectural design against the users physical/physiological and internal (sensorial, emotional) responses etc.

3. To

understand

digital

the

immersive

benchmark

for

experience

creating and

a

convincing

applying

its

non-

design

possibilities into my design of a Live-Work Studio.

9

This section defines immersive design and the qualities of immersive experience, revealing how immersive spaces are permeated within the sensation and perception of experiences and narratives, the only constant being the human body, and its receptive nature.

LITERATURE REVIEW

10

A BRIEF INTRODUCTION TO IMMERSIVE ENVIRONMENTS There

is

definitive

an

incredible

meaning

of

an

amount

of

ambiguity

‘immersive

surrounding

environment’

based

the

on

it

subjectivity.

What

can

be

defined

however,

are

the

terms

‘immerse’

and

‘environment’. The Collins English Dictionary defines ‘immerse’ as “to involve deeply”, and ‘environment’ as “the surroundings in which a person, animal, or plant lives”. (Almond, 2011, 9)

Fig 2.1:

A Sketch of what Immersion feels like: Feel Alive by Yuumei from deviantart.com

Therefore literally, the term ‘immersive environment’ refers to a person being involved deeply in the surroundings in which they live.

Immersive design is a multifaceted field that communicates to the users

on

many

experientially,

different

levels,

sensorially,

temporally. When these

intellectually,

perceptually,

emotionally,

responsively

environments are successful, the

and

subject 11

can

find

the

resulting

stimulation

both

intellectually

and

experientially, deeply satisfying. (Lorentz, 2006, 13)

THE PSYCHOLOGY OF IMMERSION Researchers,

philosophers,

and

psychologists

have

proposed

a

number of different discourses to explain the how and why behind immersive experience. Why do we want immersion? How do we respond to

immersive

environments?

Most

assuring

how

can

we

design

immersive environments?

Early research on human motivation, have sought the origins of immersion (Dean, 1994,22). According to Boeree (1998), Immersion is firmly based on motivation, and the ranking and nature of our needs See Fig (2.2).

Fig 2.2:

Maslow's Hierarchy of Needs from Young, 2014,50

12

This

fundamental

knowledge

of

what

drives

us

to

have

these

experiences leads to the second stage of the enquiry, to know:

HOW IMMERSIVE DESIGN AFFECTS OUR EXPERIENCES OF SPACE? According to McLeod (2007), behaviour is the result of stimulus and response. That is all behaviour, no matter how complex, can be reduced to a simple stimulus – response association.

Similarly, Watson (1930) described the purpose of psychology as: “To predict, given the stimulus, what reaction will take place; or, given the reaction, state what the situation or stimulus is that has caused the reaction” (Watson, 1930, 11) In line with this thinking, Balakrishnan et al. (2007) described immersive

experience

emotional

reaction

as

that

a

spatial

awaken

the

condition

that

observer’s

inner

creates needs

an and

motivation.

Therefore if we reduce the above definition into stimulus-response processes we can infer that: i) Mans needs and motivation (internal) is awakened by ii)

Spatial condition (external stimuli) to create

iii) An emotional or sensorial reaction (internal) However, due to the subjective nature of immersive experience, this process of engagement occurs in no particular order.

That

being

design,

it

stimulants greater

said, is in

as

architects

valid the

awareness

to

design of

and

suggest of

space,

in

that:

spatial and

the

context

considering

conditions

this

of

spatial sensual

results

engagement

in

a

ultimately 13

motivates

man,

enhance

the

users

personal

potential

and

self-

actualisation and ultimately his creativity.

WHAT

THEN

ARE

THE

RESPONSES

STIMULATED

TO

CREATE

IMMERSIVE

EXPERIENCES? In

the

book

Sensory

Design,

Malner

(2004)

stated

that

we

experience three kinds of sensory responses.

• Physical response (involuntary reaction) of the sense organ to stimuli (Physiological)

• Response

conditioned

by

prior

knowledge

of

the

source

(Experiential)

• Response to stimuli as it becomes identified in ones memory with a particular environment (Temporal). (Malner, 2004,23) Similarly, Meyers (2014) opined that emotion constitutes a major influence

for

determining

human

responsiveness

in

immersive

environments and is related to "...physiological arousal, natural behaviours, and conscious experience.”

Therefore by fusing the works of Malner (2004) and Meyers (2014) immersive responses can be grouped into three categories, namely:

• Physiological arousal (natural human reaction) • Routine behaviours (conditioned by knowledge of the source) • Conscious experience (identified by memory)

14

PHYSIOLOGICAL AROUSAL Various researchers in the field of sensorial studies (Zumthor, 2006; Pallasmaa, 2005, Holl et al (1994), Malnar and Frank, 2004) have

opined

that

people

perceive

atmosphere

through

emotional

sensibility. People see the light and colours of a space, hear sound reflections, smell and feel the properties of its materials.

For instance the sun can only be perceived as light when a wall is introduced into space, the organ of sight (eyes) are stimulated in the

subject

(man),

only

then

can

he

truly

begin

to

perceive

(sense) its physical properties (illumination, shadow, light or shade). (Holl et all, 1994, 45) As a result, users and observers are firstly engaged physically through

their

sensory

organs

before

making

emotionally

connections. Invariably they form their experiential and emotional reflections

of

the

space

stimulation

and

of

course

based

on

their

thereafter

initial

the

physiological

subjective

sentiments

they may attach to immersive spaces.

An

example

of

an

immersive

experience

that

is

a

result

of

physiological and emotional stimulation in architecture is Peter Zumthor’s

Therme

Baths

in

Switzerland

(1996).

The

building

is

known for its intimate atmosphere, as well as for its celebration of the act of bathing. (See Fig. 2.3 and 2.4)

15

`Fig 2.3: ONE OF THE INDOOR POOLS, The Therme Vals / Peter Zumthor

Fig 2.4: Outdoor Pool, The Therme Vals / Peter Zumthor

16

What is apparent in the Therme at Vals is the poetic and narrative fascination for the mystic qualities‌ a feeling of warm stones and naked

skin,

architect.

the

ritual

One

can

of

bathing:

sense

the

these

notions

conscious

guided

selection

the and

implementation of these narrative elements in the space and this is

perhaps

what

encourage

a

highly

sensuous

and

restorative

experience.

ROUTINE BEHAVIOUR Similarly,

in

behavioural

psychology,

notions

of

immersive

experience are based on assumptions that a person’s environment determines their behaviour. That is, we experience sensations in space and define our neurological or cognitive association with space based on perception of the space, as a result of stimulus.

Behaviourial psychologists are therefore primarily concerned with observable (external) behaviour as opposed to internal events like sense, thinking and emotion. (McLeod, 2007) This kind of outlook towards immersion is based on perception of physical space such as material, scale, and orientation through sound, touch, smell, sight and other cognitive faculties (haptic, kinesthetic, expansion and compression). See (Fig.2.5)

17

Fig 2.5: Illustration of the perceptual system from Malnar and Frank, (2004), 23.

In

his

book

Experiencing

Architecture,

Steen

Eiler

Rasmussen

explained how unaware one is about how much he/she can hear. In fact,

perception

is

as

a

result

of

the

impression

of

various

senses, although one may not be aware of that. Rasmussen, 1962, 224) An example of a space that reflects characteristics of perceptual stimulation in architecture is the MIT Chapel designed by Eero Saarinen (1956) See Fig (2.6).

18

Fig 2.6:The MIT chapel, located on the MIT campus from Bayramzadeh (2011), 697

The

informal

circular

interior

layout

implies

a

continuous

connection between people and altar. The dark interior is lit both with the skylight above the altar and the light reflection from water in an exterior moat to the walls. This offers a dramatic and peaceful sense to people. The central viewpoint is controlled, such that the metal leaves hanging above the altar area draws much attention. elements

For

and

instance,

materials

in

By

using

interestingly

unfamiliar

the

space,

perception

the

of

space

wasn't purely visual, people start to touch, sniff and listen to discover them. (Bayramzadeh, 2011, 700)

19

Conscious Experience: The

philosophy

experience

is

behind

conscious

composed

of

experience

instants

between

is

that

past,

immersive

present

and

future, which enabling the users to reflect on the qualitative character of such a space.

The elements of time come into the equation in the place of memory (past)

and

expectations

(present

and

future).

(D’Alessandro,

2011,3-12;Philips, 2014, 1) Similarly, in the essays collected in Thinking Architecture, Peter Zumthor reflects on his childhood visits to his aunt where taking hold of the front door handle was the prelude to a singular world: 'I remember the sound of gravel under my feet, the soft gleam of the waxed oak staircase, I can hear the heavy front door closing behind me as I walk along the dark corridor..' (Zumpthor, 2006,64) By studying his works, it is quite explicit that he incorporates elements of the familiar from the earlier lives of the users and designs with the aim of calling to mind recognised responses.

(Mead, 1998, 2)

20

EVALUATION OF THEORIES A

significant

assessment

of

the

study

is

to

bridge

the

knowledge gap by explore a range of interpretations of the term

'immersive

definition.

experience’ by

There

are

five

coming

primary

up

with

elements

a

central

that

were

consistently present in most of the immersive experiences explored.

1. Involves

a

state

of

internal

stimulation

driven

directly by externally delivered information.

2. It is sensory in nature, often using all the senses or combining two or more of the senses such as sight and

sound,

or

sight

and

touch.

(Biocca

et

al,

1995,136); Heim, 1998, 34) 3.

The

experiences

were

centred

on

narratives

to

stimulate the imagination by immersing the senses in information from illusory space.

4.

Allows the subject to be transmitted through time (past, present and future) and place (mood, space or story) (Heim, 1998)

5. Provides the user with active participation rather than

passive

observation,

through

a

process

of

discovery and revelation.

From the above, one can infer that immersive design involves two simultaneous entwined tasks: •

To design spatial conditions that are coherent, not just on the surface but with an interior logic and; 21

• Respond to and drive narrative and memory.

Following these principle will allow an audience to be fully immersed in both environment and embedded story.

Design Framework In the context of a live-work studio, the design goal to create

not

just

an

immersive

space,

but

functional living and exhibition spaces for

flexible,

that

user, observer, visitor and students

will

multi cater

all at the same

time.

According to Lorentz (2006), in order to achieve immersion in an art based gallery space,

each

component

of

the

space

needs to be considered individually and also as part of a whole,

because

"immersion"

is

according to different levels or from

an

immersive

potentially

experienced

degrees. These can

range

object that has special significance

to the visitor, to an immersive experience associated with an entire space. But importantly, the designer also needs to ensure

that

totality

of

each the

moment

is

interior

experienced architecture,

as

part

more

of

than

the the

individual rooms or objects displays. (Lorentz 2006,5) Similarly, Machon (2009) describes how she uses “syn-aestetics” approach to design an immersive performance by “Placing the site of

response

throughout

the

body

rather

than

in

a

mediation

position between the body and the senses” Herein, the subject experiences from within the medium of experience, seen as one with his bodily senses rather than distinct from them. (Machon, 2009, p.14) 22

Implementation The

first

step

in

the

design

was

to

consider

the

spatial

requirements of a contemporary artists which includes: • Large flat surfaces to spread out his works, materials and accessories; • Easy access to the hanging pieces on the walls and shelves; and as much freedom to move around as possible.

Therefore,

in

this

type

of

work,

conventional

desks,

tables,

chairs and standard space division will hinder rather than help, which is why the researcher took a different approach.

Other factors warranting consideration are: •

T he visitor orientation in the gallery,

• Low lighting levels, • Scale and volumes of the architecture, • Ambience (visual and sound), • Tactility of materials a n d

surfaces,

• Interactive elements involving user participation and; • Most importantly, the potential for the space not only to attract visitors, but

cater for the living and creative

needs of the artist himself.

23

Design Statement: Taking the concept of syn-aestectic immersion metaphorically and literarily, has change the way the designer looks at space, by playing around with words and relating them directly in the spatial context. Similar to the poetic narrative used by Peter Zumpthor in Therme de Val. Therefore,

instead

of

creating

boundaries

within

the

interior

space (mediating position between the body) the designer placed the boundaries within the space (literarily merging the boundaries and immersing them in one another), allowing the body (users) to experience space as a whole (throughout the body), rather than in parts.

Doing

this

has

created

a

seamless

multi-functional

and

flexible living and working space for the artists in residence, See Fig (2.7)

Fig 2.7: Conceptual Diagram from the Researchers Design Project 24

Gently divided

curving by

only

forms

dominate

different

the

levels

visually

homogenous

horizontally,

rather

space, than

by

partitions, so that the entire area can be used for displaying, viewing, participation and reviewing art - The limited selection of materials: mainly smoked oak and concrete, in a white washed background

makes

this

studio

a

great,

minimalist

setting

for

working with and focusing on the production of art, See Fig (2.8 and 2.9).

Fig 2.8: 3d illustration showing the merge and immerse concept in the space

25

Fig 2.9: A Section of the overall scheme

26

RESEARCH METHODOLOGY

This section looks into consideration that led to the research plan, which is grounded in observatory qualitative research methods.

27

RESEARCH PLAN: The research question seeks to know: In what way, that is how may non-digital immersive design impact users experiences in a creative live-work space? See Fig (3.1).

Fig 3.1: Questions answered by research methods from Rohrer, 2014

On

this

basis,

this

qualitative

research

will

be

based

on

phenomenological methods that will aid to describe the phenomenon of an immersive experience from the users point of view (what people

say)

relationship

in

order between

to

discover immersive

the

true

causal-effect

environment

and

physical/physiological experiences.

28

Data Collection Data will be collected through the following: i) Unstructured

open-ended

and

in-depth

phenomenological

interviews ii) Observatory behavioural experiments Observatory

behavioural

experiments

studies

internal

processes

including perception, attention, language, memory and thinking.

Because

architecture

is

primarily

a

visual

medium,

study

participants will be asked to explore the chosen building two times: first with open eyes and then with closed eyes. After each exploration,

they

will

answer

some

questions

about

their

experience. The questions will cover almost all of the space’s features, such as material, sound, heat, smell, dimension, as well as any other personal experiences they had. This experiment will assist in understanding what aspects of the architectural design can be perceived other than visually.

Sampling and Sample Size According Starks, Brown, and Trinidad (2007) Typical sample sizes for phenomenological studies range from 1 to 10 persons. In the case of causal, comparative and experimental methods, Borg and Gall (1979:194—95) suggest a sample size of no fewer than fifteen cases.

By means of purposive sampling method, at least 15 participants will

be

recruited

based

on

their

level

of

experience

of

the

immersive design phenomenon. The resulting response will be used

29

to

collate

common

features

of

both

the

lived

and

controlled

experiences.

Analysis: Interpretive methods will be used to analyse the collected data from

the

phenomenological

interviews.

This

method

will

distill

textual data to a set of categories or concepts from which the final product can be drawn. Thus, giving a detailed account of the immersive design phenomenon as it relates to user engagement.

Limitations: The size of the sample pool may be limited by researchers’ time available for data gathering.

30

IN CONCLUSION

From

this

expository

Researcher design

is

is

architecture, set

of

aware not

but

design

enquiry, that

a

values

immersive style

rather

the

an

of

emerging

that

confront

designers with issues of substance in design construct. Therefore, this research has commissioned new aspects to improve the synergy between space and user.

This

framework can be

metaphorically.

For

utilised in a

example,

in

this

number of case

ways, not just

strategies

used

in

immersive performance were applied to enhance the design of a creative living and working experience.

Ideally, testing

one and

outcome

of

further

research

will

documenting

visitor

responses

to

be

a

model

perceived

for

design

experience, so that success or otherwise of the immersive nature of

the

experience

conclusions

on

the

can

be

gauged

effectiveness

to

make

more

of

immersive

wide

ranging

experience

in

interior settings (See appendix for details).

3277 Words

31

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APPENDIX 1. Cognitive psychology can be used for carrying out research on the performance psychology approaches.

and

effectiveness

deals

with

human

It

focuses

on

of

the

immersive

experimental the

way

spaces.

analysis

humans’

of

Cognitive

behavioural

process

information,

looking at how we treat information that comes in to the person (what behaviourists would call stimuli), and how this treatment leads to responses. In other words, they are interested in the variables that mediate between stimulus/input and response/output.

2. The use of participant observation as a research technique assumes that an understanding of the area

being

researched is enhanced by

the observer's expertise and direct involvement in that participant observer's processes

being

disciplines and

access

investigated,

to

primary

data

particularly

and

when

complex inter-relationships are

a

area.

The

knowledge

many

of

different

involved, can

lead

to a more rigorous evaluation of material intended for analysis.

To begin answering this question, a basic understanding of the immersive phenomenon as an epistemological construct helped in drafting

out

the

overall

research

plan,

including

areas

of

future research, see Table 1.1 below.

37

QUALITATIVE RESEARCH PLAN Observatory methods ATTITUDINAL

BEHAVIOURAL

ASPECTS/ APPROACH

Phenomenology

Cognitive Psychology

HISTORY

European Philosophy

behavioural psychology

PHILOSOPHY

The notion that there exists an essential perceived reality with common features

The notion that if we want to know what makes people tick then we need to understand the internal processes of their mind.

GOAL

Describe the meaning of the phenomenon

studying internal processes(unobservable behavour) such as perception, attention, language, memory and thinking

METHODOLOGY

What is lived experience of Immersive design

tests, experiments carried out in a controlled environment to observe human responsiveness to immersive environment.

Sampling

Purposive Sampling: Those who have experienced the phenomenon of interest.

Sample Size

1-10

no fewer than 15 cases

Data Collection Observations

Observe Case Studies , participants in the context where the phenomenon is experienced

Observe subjective behaviour and responses during experiments and interviews and also through subjective questionnaires

Interviewing Strategy ANALYTICAL METHODS Decontextualisation and recontextuallisation process of coding, sorting, identifying themes and relationships and drawing conclusions

Participant describes experience, interviewer probes for detail, clarity IDENTIFY DESCRIPTIONS OF PHENOMENON; CLUSTER INTO DISCRETE CATEGORIES; TAKEN TOGETHER, Then DESCRIBE THE “ESSENCE” OR CORE COMMONALITY AND STRUCTURE OF EXPERIENCE.

Role of Analysts view

Based on these features: performance special effect ambiance and mood multi- sensory engagement user engagement and participation Low or no digital media (McLuhan:) diagrammatic flow and cognition

bracket views

AUDIENCE

Design Practitioners and Architects & others who need to understand the lived experience of the phenomenon of immersive design

Users,, observers of space

PRODUCT

A thematic description of pre-given “essences” and structures of lived experiences

To reveal physical and physiological perceptions and it’s corresponding emotional effect in the users of the live-work space.

Table 1.1: Showing Epistemological Research Plan drafted by Researcher 38

List of Figures and Tables Fig 1.1: Lincoln school of Architecture building, in relation to Cathedral ………………………7 Fig 2.1: Fig 2.2:

A Sketch of what Immersion feels like: Feel Alive by Yuumei

…….………11

Maslow's Hierarchy of Needs from Young ……………………………………………………………………………………..12

Fig 2.3: ONE OF THE INDOOR POOLS, The Therme Vals / Peter Zumthor…….………………………………………16 Fig 2.4: Outdoor Pool, The Therme Vals / Peter Zumthor

…………………………………………………………………… 16

Fig 2.5: Illustration of the perceptual system ……………………………………………………………………………….

18

Fig 2.6:The MIT chapel, located on the MIT campus

19

……………………………………………………………………….

Fig 2.7: Conceptual Diagram from the Researchers Design Project

………………………………….

24

Fig 2.8: 3d illustration showing the merge and immerse concept in the space…………….

25

Fig 2.9: A Section of the overall scheme.

26

………………………………………………………………………………………….

Fig 3.1: Questions answered by research methods ……………………………………………………….………………….

Table 1.1: Showing Epistemological Research Plan drafted by Researcher

28

………………………. 38

39