Ucin1053375336-Imp 4 Thesis

UNIVERSITY OF CINCINNATI
DATE: May 16, 2003
I,
Aaron Michael Bodart
hereby submit this as part of the requirements for the

degree of:
Master
in:
Architecture
It is entitled:
Eclectic Architecture
Approved by:
David Niland
Barry Stedman
Eclectic Architecture
A thesis submitted to the
Division of Research and Advanced Studies of
the University of Cincinnati
in partial fulfillment of the
requirements for the degree of
Master of Architecture
in the School of Architecture
of the College of Design, Architecture, Art and Planning
2003
by
Aaron Michael Bodart
B.S. Arch, University of Cincinnati, 2001
Committee Chair: David Niland

Barry Stedman PhD
Thesis
abstract
Architecture subscribes to ideas of style, consistency and order to give it legitimacy and legibility. Dramatic
and enriched space is the goal. Adherence to these principles is not always the most appropriate response.
Any number of solutions, utilizing different shapes, sizes and configurations are possible. However, clear,
contiguous relationships must be drawn between components. By utilizing the perception of shape, color,
pattern and light an understandable, geometrically eclectic composition of forms can be created.
The design adds to the existing Shedd aquarium in Chicago, Illinois, creating spatial elements under, in and over
the lake. New display and information methodologies are explored.
The addition incorporates aquatic life from Lake Victoria and East Central Africa. It surrounds visitors with new,
immersive forms of display and information. The auditorium is specifically designed for interactions with Lake
Michigan storms. The full force of Mother Nature is on display.
Thesis
Table of Contents
I. Table of Contents ......1
II. List of Illustrations..2-4
III. Introduction 5-6
IV. Thesis 7-20
A. fragmented architecture
B. theories on perception
C. psychological interpretations
D. phenomenology
V. Thesis Precedents .21-23
VI. Site Evaluation ..........24-26
A. history
B. description
VII. Programmatic Precedents
A. monterey bay aquarium 27-28
B. shedd aquarium .29-31
C. newport aquarium .32-34
VIII. Program ..35
A. space planning
B. sq. footage
IX. Project
A. how spaces feel ....36-38
B. relation to thesis .....................................39-46
C. building drawings...47-49
X. Annotated Bibliography .......50-54
List of Illustrations
thesis and design
Figure 0.1 Villa Saboya. Culturegenderal.net. Arquitectura. April 24, 2003. Available at www.culturageneral.
net/arquitectura/arquitec/jpg/saboya.jpg.
Figure 0.2 Photograph by author
Figure 0.3 Illustration by David Heald, Frank O. Gehry, Kurt W. Forster (Germany, 1999) p. 104.
Figure 0.4 Illustration by Kurt W. Forster, Frank O. Gehry, Kurt W. Forster (Germany, 1999) p. 107.
Figure 0.5 Illustration by Peter Eisenman, Diagram Diaries (New York, 1999) p. 54.
Figure 0.6 Illustration by Heinz Muller, Le Corbusier (London, 1987) p. 64.
Figure 0.7 Ronchamp. Fondation Le Corbusier. Projects. April 24, 2003. Available at www.fondationlecorbusier.
asso.fr/ronchamp.htm.
Figure 0.8 Illustration by Jussi Tiainen, Heikkinen + Komonen (New York, 2000) p. 76.
Figure 0.9 Illustration by Jussi Tiainen, Heikkinen + Komonen (New York, 2000) p. 78.
Figure 0.10 Illustration by Jussi Tiainen, Architectural Record (New York, 2003) p. 116.
Figure 0.11 Illustration by author
Figure 0.13 Psychology of Perception (Cambridge, 1979) p. 342.
Figure 0.17 Bottle_04_color. Parfums de Wakaba. Helmut Lang. April 24, 2003. www.wakaba.co.jp/product.
html.
Figure 0.18 Angel Cologne. Hampshires of Dorking. Hampshires Collectables. April 24, 2003. Available at
www.hampshires.co.uk/acatalog/Hampshires_Collectables_4.htm.
Figure 0.19 Perfume. Cardiff University. Memorabilia. April 24, 2003. Available at www.e-shop.cf.ac.uk
/alumni/acatalog/Cardiff_University_....

Figure 0.30 Img1. American Society of Cinematographers. Black and White in Color. April 24, 2003. Available
at www.theasc.com/protect/nov98/ pleasantville/main.htm.
Figure 0.31 Filmo_pleasantville. La presse au cinema. Film. April 24, 2003. Available at www.presse.acversailles.fr/Filmo/ filmo_pleasantville.htm.
Figure 0.33 Discobolos_large. Sculpture Gallery. Roman. April 30, 2003. Available at www.sculpturegallery.
com/thirteen/discobolos_large.jpg.
Figure 0.34 Illustration by Katcuhisa Kida, Architectural Record (New York, 2002) p. 80.
Figure 0.35 Illustration by Benny Chan/ Fotoworks, Architectural Record (New York, 2002) p. 131.
Figure 0.36 Illustration by Roland Halbe, Architectural Record (New York, 2002) p. 103.
Figure 0.37 Illustration by Peter Aaron/Esto, Architectural Record (New York, 2002) p. 135.
Figure 0.39 Illustration by Peter Aaron/Esto, Architectural Record (New York, 2002) p. 134.
Figure 0.40 Illustration by Sharon Risedorph, Architectural Record (New York, 2002) p. 103.
Figure 0.42 Illustration by Sharon Risedorph, Architectural Record (New York, 2002) p. 106.
Figure 0.43 Illustration by Eugeni Pons, Architectural Record (New York, 2002) p. 94.
Figure 0.45 Illustration by Eugeni Pons, Architectural Record (New York, 2002) p. 96.
Figure 0.46 Illustration by Randy Wilder, Monterey Bay Aquarium (Monterey Bay, 1999).
Figure 0.48 Newport Aquarium. GBBN Architects. Portfolio. April 24, 2003. Available at www.gbbn.com/
index2.htm.

Figure 0.56 Illustration by Tomohiro Sakashita/GA Phtographers, Architectural Record (New York, 2002) p. 94.
Thesis
Introduction
Means and methodologies for architectural practice exist in many forms, none any less compelling or interesting,
merely different. Every Architect develops his or her own ideas on the practice of design and continually refines
those ideas throughout the course of his or her career. Architecture is not a stagnant practice where everything
is eventually learned only to be rehashed and repackaged as the same interpretation of an age old question. As
time changes, new solutions manifest themselves. No one way is the perfect way for approaching every project.
The adaptive abilities of the architect: his or her understanding of the world and what it needs and desires
determines his or her continued success. The idea that one design methodology can be the ruling or guiding
force for the profession died long ago. An exchange of eclectic ideas and orders is possible. Architecture is
very often based on architectural history; precedent. In this respect, all past architectural work is applicable
material, moldable information for the creation of an eclectic design. Here, the perception of shape, color,
pattern and light is used to compose a series of geometrically eclectic forms.
An understanding of perception can be crucial in creating recognizable relationships between eclectic
geometries. One shape is perceived as different from another because of prototypical cues embedded in the
subconscious. This labeling carries certain prototypical information which governs cognitive perception. A
square, circle and triangle each have different criteria which produce predictable reactions, different from one
another. This learned criteria deals with how we process information through a comparison to our remembered
experiences. It is difficult to overcome because of the psychological baggage often attached to each shape.
However, it should be understood that not every scenario produces the same effect. I believe a better
understanding of the minds perceptive qualities can help architects design more powerful spaces.
The perception of shape, color, pattern and light often defines the character and feel of a space. A manipulation
of these characteristics can produce predictable and controllable reactions. Juxtaposing different geometric
shapes can create tension and drama. For example, a square and triangle each have very different implications
related to form. The square feels dull and straightforward, while the triangle implies action, agitation and conflict.1
The interest arises from the architects ability to create an understandable relationship between the two
geometries. A connection can be established, unifying the two seemingly disparate objects. For example, two
completely different shapes can be related, in that one seems to envelop the other through its physical
orientation. Each form is understood as different, but the relationship only makes sense when both objects are
present. A binary relationship exists where each object is only definable through its relationship to an
1
Shape. 21 October 2002 <http://www.pomona.edu/Academics/courserelated/classprojects/Visuallit/shape/shape.html.>
established other. Each reacts to and qualifies the other, no matter the differences or consistencies of the two
objects. Hence, a geometrically eclectic composition is possible as long as strong relationships can be
generated, tying the composition together. Consistency is irrelevant if a strong perceptual relationship is
established to override inconsistencies. By understanding the psychological perception of shape, color, pattern
and light an eclectic, geometric composition can be successfully composed.
This thesis will begin by de-emphasizing the importance of consistency and style in the design process. As
Picasso once said, he was never committed to a single style just to that which would express his feelings.2 It
will also discuss the importance of architectural precedent as applicable material for design, no matter the
combination. Next, it will lay out pertinent rules for understanding human perception based on psychological
analysis. It will discuss various theories dealing with object recognition, geometric understanding, and the
Gestalt principles of visual organization. Phenomenology will be introduced as the basis by which we first begin
to understand our surroundings, through our experience of home. Finally, the investigation will discuss the
interpretation of perceptual characteristics as related to the establishment of an eclectic, geometric architecture.
Hans L.C. Jaffe, Picasso (New York: Harry N. Abrams, Inc. Publishers, 1964), 16.
Thesis
history and description
Architecture is fractured into different methods and styles; Modernism,

Classicism, and Sculptural design to mention a few. Each trend has
peaked and plummeted in a cyclical fashion over time (figures 0.1, 0.2,
0.3). For example, as the tenets of Modernism came into question, a
Post-Modernist theory attempted to alleviate the perceived
inconsistencies. What is hot now will not be tomorrow. Theories
become flawed, only to be replaced by other possibilities. Picasso, one
of the fathers of cubism said, he was never committed to a single style
just to that which would express his feelings.3 In much the same way,
Architecture must question and rebel against the zeitgeist, spirit of the
age, in order to grow.4 Questioning Architectural history allows for reinterpretation, further investigation and development of the profession.
This process has produced innumerable methods for attacking design
problems. For example, Frank Gehry designs through a sculptural
media, dedicated to the maximum impact on the audience (figure 0.4).5
On the other hand, Peter Eisenman relies on a tracing of the history, site
Figures 0.1, 0.2, 0.3
and context to produce architecture (figure 0.5).6 Neither methodology

is better than the other, just different.
Exploring the process of design has produced various combinations of
spatial size, shape and treatment. Each is unique, subscribing to
various schools of thought and interpretations of the human condition.
Figure 0.4
For example, Le Corbusiers interpretation produced the modular, a

proportional ordering system derived from the dimensions of the human
body. It became one generator for his work and philosophy.7 Every
architect inherently develops and refines his or her own style; a design
method specific to that persons interests and desires for critical work.
Figure 0.5
That methodology is constantly scrutinized and re-investigated in an
Hans L.C. Jaffe, Picasso, (New York: Harry N. Abrams, Inc. Publishers, 1964), 16.
Peter Eisenman, Diagram Diaries, (New York: Universe Publishing, 1999), 37.
5
Cristina Bechtler, Frank O. Gehry Kurt W. Forster, (Cantz Verlag, 1999), 14.
6
7
Peter Blake, The Master Builders, (New York: Alfred A. Knopf, 1960), 32.
4
attempt at unattainable perfection. For example, Le Corbusier

discovered and eventually implemented an ordering system based on
the natural environment to enrich his original machine aesthetic (figures
0.6, 0.7)8. In this respect, his philosophy was continuously growing
toward maturation. Styles and methods should be understood as
merely additional layers in an eclectic design profession. Architecture is
often based on the accumulation of rhetoric and precedent. It involves
knowing what has gone before and being able to change that history.9
Re-interpreting past work can provide a valuable map for new
exploration. Design does not occur in a vacuum and few people are so
lucky as to generate something completely new and innovative. It
therefore stands to reason that a design methodology is often the
Figure 0.6, 0.7
product of precedent, a series of layers built through trial and error,

preference and predilection. Architecture is then a process of
component selection wholly based on the sifting of its own layers and
history- its Interiority. That is, the theoretical examination of itself (its
discourse).10 Through this study different design strategies and formal
characteristics can be applied to a single project. A combination of this
derived material is appropriately valid design because of its historic
basis.
The architecture of Heikkinen + Komonen uses the juxtaposition of
difference as viable design solutions (figures 0.8, 0.9). A language of
rigor against casualness, stasis against movement, and form against
image enriches their projects. One language becomes stronger
because of the presence of the other counteracting and highlighting the
obvious differences. For example, using contemporary materials to clad
ancient forms can be a dramatic counterpoint.11 The idea of balance
through contrast, point versus counterpoint is a powerful form
generator.12 Necessary cohesion is achieved through a simple means of
Figure 0.8, 0.9
illusion. The art of architecture is to use momentary illusion for
10
11
William Morgan, Heikkinen and Komonen, (New York: The Monacelli Press, 2000), 18.
12
9
reinforcing the experience of reality.13 For example, a white square will

be perceived as even whiter if it is set next to a black square. The
difference becomes more dramatic and significant when the mind is
given a basis for comparison.14 The data can be easily processed by
the brains receptors.15 From an architectural standpoint, the fluctuation
of light through water creates an illusion of movement. Here, the space
feels energized (figure 0.10). Often, an evenly lit room seems tiresome
because the difference in material qualities is lost in the sameness of the
illumination.16
Figure 0.10
I believe visual and stylistic difference can be alleviated through a

manipulation of perception. Architecture already projects the
designers intended emotional and spiritual qualities into spatial
construction. The next step is creating compositions which compel the
viewer toward specific reactions. Architecture is the masterly, correct
and magnificent play of mass brought together in light.17 I believe
light refers to the Architects ability to establish perceived connections
and relationships between different materials, forms, and scales.
Eclecticism refers to a composition of elements pulled from a variety of
sources.18 In this instance, eclecticism deals with a number of different
geometric forms, each generating specific, predictable reactions. They
are composed utilizing an understanding of the psychological
perception of shape, color, pattern and light to create visual legibility.
Before objects can be composed we must first understand the process

of organization active in perception, which somehow does justice to the
organization outside in the physical world.19 How we recognize and
categorize stimuli affects our ability to perceive. The shear amount of
information processed by the human brain is amazing. By all accounts
13
William R. Uttal, A Behaviorist looks at Form Recognition, (Mahwah, New Jersey: Lawrence Erlbum Associates, Publishers,
2002), 141.
15
Edward C. Carterette, and Morton P. Friedman, Handbook of Perception, (New York: Academic Press, 1975), 7.
16
Kunsthaus Bregenz, Peter Zumthor, (Hatje, 1999), 53.
17
18
Merriam-Webster Online. 25 March 2003 <http://www.M-W.com/cgi-bin/dictionary.>
19
Colin Rowe, As I Was Saying: Recollections and Miscellaneous Essays, (Cambridge: Massachusetts Institute of
Technology, 1996), 122.
14
it should be overwhelmed by the number of calculations required to

ascertain meaning in a world of otherwise chaotic events and images.
The minds ability to recognize objects has been thoroughly studied and
a number of hypotheses proposed. Object recognition is the activation
in memory of a representation of a stimulus class from an image
projected by an object to the retina.20 This memory is based on our
knowledge of the visual world, accessed through a basic level, referring
to common visual cues we are aware of instinctively. Each theory on
object recognition identifies the importance of perception and geometry
in the comparative process that produces recognition.
Figure 0.11
The Face Recognition System filters stimuli in order to process visual

information. A column of filters, tuned to various scales and orientations
is applied to the image. Certain stimuli activate different filters to
various extents.21 After the initial scan, each activated filter is matched
against a series of stored filters to produce the best recognition (figure
0.11).
System of Recognition:
1- image is sifted with a series of filters
2- stimuli activate filters
3- each activated filter is matched against stored filters
4- recognition is produced
The next theory is Geon-based. It assumes that an object is represented
by a simple arrangement of viewpoint-invariant, volumetric primitives
known as geons. A Geon is defined by a set of binary and trinary values
perceived throughout an image. Twenty-four geons have been
identified; each easily distinguishable from one another and highly
resistant to visual noise and other distractions. Initially, the mind divides
the image into regions, representing each with a designated geon. An
object is then defined by relating geons to one another. An object
should need no more than three geons to be identifiable.
1- image broken into regions
20
Dawson Home Page. 3 December 2002 <http://www.bcp.psych.ualberta.ca/~mike/Pearl_Street/Margin/OSHERS.../

Biederman.2.4.htm>
21
Biederman.2.4.htm>
10
2- each region is defined with a geon

3- each geon is then compared and related to one another
to form an interpretation22
Finally, Lowes SCERPO model breaks the image into parts,
representing the pieces and comparing each to a store of previously
learned knowledge. Representation begins with a deconstruction of the
image into sets of geometric components. Each component is then
placed into a list of coded features. The list is compared against a set of
similarly coded patterns or templates based on memories of past
experience. An unrecognized object is identified through
conceptualization and interpolation of significant criteria. This criterion is
compared and evaluated against the coded list to produce the
appropriate interpretation.
1- give it image
2- detects edges
3- groups edges according to properties of co-linearity,
parallelism and codetermination
4- a preliminary match between features and stored models is
attempted
5- a preliminary match is used to guide the search for new
features in a top-down fashion 23
Once a compositional object has been recognized it can be grouped in
a number of different ways. It can be seen as an outline of an object, as
part of a different adjacent object or as a gap between objects. In one
instance the object will dominate, and in another, the negative space will
be the dominant.24 This hierarchy of groups defines the figure-ground
association. It is a binary relationship involving two distinct parts. We
never see figures (or swatches) alone, only dynamic figure-ground
relationships.25 Neither could exist without the other or the effect would
be lost and the interpretation skewed. A figure is defined by its closure,
compactness, density and internal articulation. Ground is the lack of
Figures 0.12, 0.13, 0.14, 0.15
22

Biederman.2.4.htm>
23
Biederman.2.4.htm>
24
Shape. 21 October 2002 <http://www.pomona.edu/Academics/courserelated/classprojects/Visual-lit/shape/shape.html.>
25
Roy R. Behrens, Art, Design and Gestalt Theory, MIT Press. 9 October 2002<http://mitpress2.mit.edu/e-journals/
Leonardo/isast/articles/Behrens.html.>
11
these qualities. It surrounds the figure, creating a common relationship

to all that it touches. Therefore, the dynamic qualities of the figure
become apparent. A reciprocal relationship exists in which an area of
Figure 0.16
reference is qualified by and yet qualifies the other objects referred to

it.26 A figure and the ground can be themselves and their opposite
depending on the properties of the composition (figures 0.12, 0.13, 0.14,
0.15). Scale has a direct correlation to the perceived relationship. For
example, a very large figure can be understood as the ground.
Our ability to recognize these relationships is directly related to our
development of a basic comprehension of geometric shapes. It allows
us to dissect and analyze the surrounding world and its structure (figure
0.16). Shape often provides the definable features necessary for
recognition. Even the most basic geometric form carries substantial
perceptual baggage. A square shape is dull, straight forward, honest,
stable, and less natural than a circle. A circle is seen as a continuous
whole, comforting and relaxing. In the same manner, a curvy object is
calm, assured, relaxed and optimistic. Finally a triangle is associated
with action, agitation, conflict, tension and aspiration. The sharpness
reminds us of danger, pain, and antagonism. This geometric
relationship clearly defines a continuum of extremes (square and
triangle) mediated by a linking element (circle). The figures perceived
notions can be exploited. For example, a perfume and cologne bottle is
shaped in such a way as to target specific consumer groups through
advertising and product design. Cologne is usually packaged in large,
square bottles. Male strength, honesty and reliability are implied.
Conversely, a perfume bottle is often smooth and curvilinear, implying
female warmth and security. A triangular bottle targets women seeking
risk, challenge and excitement (figures 0.17, 0.18, 0.19).27
Similar to geometric perception, Gestalt theory is based on accepted
notions of fact and predictable reactions. The human brain is subject to
Figures 0.17, 0.18, 0.19
assumptions of fact and truth, things it wants to believe and finds difficult
26
Colin Rowe, As I Was Saying: Recollections and Miscellaneous Essays, (Cambridge: Massachusetts Institute of
Technology, 1996), 125.
27
12
to disregard. Our subconscious prefers the world organized into some

semblance of order and structure. It will attempt to provide order if none
is present. In this way, the mind makes sense of chaos. This ability to
interpret object-related fact is the basis for the Gestalt Principles of
Visual Organization. Each suggests that the world does not simply exist
but is constructed by our own interpretations, through the process of
perception.
Figure 0.20
- The Principle of Proximity- features which are close together

are associated (figure 0.20),
- The Principle of Perceptual Organization (similarity) features that look similar are associated (figure 0.21).
- The Principle of Good Continuity- smooth continuity is
preferred to abrupt changes (figure 0.22).
- The Principle of Perceptual Organization- interpretations
which produce closed rather than open figures are favored
(figure 0.23).
Figure 0.21
- The Principle of Perceptual Organization (smallness) smaller areas tend to be seen as figures against a larger
background (figure 0.24).
- The Principle of Symmetry- symmetrical areas tend to be
seen as figures against asymmetrical backgrounds (figure 0.25)
- The Principle of Surroundedness- areas which can be seen
as surrounded by others tend to be perceived as figures (figure
0.26).
Figure 0.22
- The Principle of Pragnanz- the simplest and most stable

interpretations are favored28
Gestalt theory simply identifies the predictable way we tend to
commonly organize specific perceptual information.
Next, a compositions characteristics can be studied to get a better
Figure 0.23
understanding of the makeup of images and objects. Each can be

broken down into components which are then compared and
28
Daniel Chandler, Visual Perception 6: Gestalt Principles of Visual Organization. July 1997. University of Wales. 21 October
2002 <http://www.aber.ac.uk/media/Modules/ED10510/visper06.html>
13
interpreted. Each meaning is widely varying and often dependent on

contextual clues and compositional features.
A drawing can be examined on the basis of dot, line and direction. Each
Figure 0.24
feature is unable to exist without the presence of the others. For

example, a line by definition is a geometric element generated by
moving a point in a direction.29
The dot is the smallest, most basic form of visual communication. Its
placement can draw attention, both harmonizing and stressful. Placing
it on axis creates a unifying element; however, when moved off center
action and motion is developed. It produces a counter-weight,
Figure 0.25
disrupting the balance of the work (figure 0.27).

A line provides movement and action since it defines a dots path across
the visual plane. Its orientation can create disruptive or harmonizing
Figure 0.26
effects as well. Because the mind processes information through

vertical and horizontal means an oblique line implies movement and
instability. This stress draws attention, signifying its importance as
dominant information. On the other hand, a horizontal line will ground
and stabilize an image or object.
Direction clarifies how the mind reads and interprets a composition. It is
Figure 0.27
the product of line, shape, scale, dimension and motion. Without a

strong sense of directionality chaos can result and the work can become
sporadic and difficult to understand. Direction can have specific
connotations. For example, a left to right incline is read as graph-like:
indicating inferiority in the lower left and superiority in the upper right.
Figure 0.28
Conversely, a left to right decline feels unstable and negative because of

its association with downhill movement. A curved line falls somewhere
in between: unstable, yet reassuring and safe because of its association
to the circle. The circle is a complete, all-encompassing object with no
directionality. It functions as a visual trap. Anything placed within the
circle will be given special significance (figure 0.28). A triangle is also a
29
14
visual frame, but provides dynamic motion. It is used to create points of

interest throughout a composition allowing the viewers eye to travel
around the work without lingering on one area for too long.30
Texture, hue, saturation and value provide contextual clues, related to
Figure 0.29
color interpretation and perception, which allow our minds to create

more precise interpretations of images and objects.
Texture deals with surface variations in physical features, value and hue.
Material smoothness is implied when very few visual interruptions exist.
A steady, even illumination can hide irregularities, giving the illusion of
continuity. Without the play of shade and shadow the mind is convinced
of the materials smoothness.
Hue refers to an objects color. It can create and change moods, or
draw attention to specific areas. A warm color surrounded by an
otherwise cool composition will draw immediate attention because of the
Figures 0.30
perceived difference (figure 0.29). When used properly, hue can

heighten the impact of an object or image by complimenting its feelings
and emotions. The movie Pleasantville, for example, portrayed issues of
segregation through literal color differences. The emotional charge
came from the struggle of black and white and colored citizens
(figure 0.30). Color has specifically attached emotional baggage. A red
hue tends to evoke feelings of anger, passion, pain and extravagance.
Blue can be cool and passive, implying truth and honesty. Yellow fits in
between, often feeling warm and cheerful like the sun. White and black
hues are perceived as polar opposites. White often represents the purity
and innocence associated with newly fallen snow, while black has a
direct link to evil and death. A grayscale image carries different
connotations than a colored one. It is more abstract and requires the
viewer to identify specific objects in terms of shape and value rather than
hue.
30
Nargis Kasenova, Misty Ruskshan, Misha Kozareff, The On-Line Visual Literacy Project.. 1994. Pomona College. 21
October 2002 <http://www.pomona.edu/Academics/courserelated/classprojects/visual-lit/shape/shape.html.>
15
Saturation enhances the vibrancy and feeling of a color. Such an image

seems closer to us, more emotionally attractive and aggressive. It will
pull forward and highlight itself. An unsaturated or non-color (gray,
black and white) will fade or fall into the background (figure 0.31). It
often feels more depressing, dull and serene when compared to its
saturated counterpart. Saturated color is used to represent the future,
while unsaturated color is associated with the past.
Value determines how light or dark a color appears. It is controlled by
the amount of white or black added to a hue. Value, hue and saturation
for the basic components of the color spectrum. Each impacts the
Figure 0.31
psychological characteristics of a color and the composition in which it

is seen.31
The physical attributes of images and objects are a product of scale,
dimension and motion. They provide additional layers of readability
associated with shape and form.
Scale refers to a size relationship. It can be exploited to create depth
and perspective. For example, as an object approaches the horizon line
Figure 0.32
it diminishes in size, receding into the distance. This phenomenon is

known as Dimension and occurs when perspectival lines converge on
the horizon at the vanishing point (figure 0.32).
Motion creates action. Here, it refers to the realistic portrayal of
movement in a static media. A number of artistic methods attempt to
capture this dynamic quality. Blurring implies motion caught in a frozen
moment of time and contrapposto involves the twisting or shifting of
weight to imply motion in a static object (figure 0.33). In addition, some
concepts describe our understanding of motion as it takes place over
time. Persistence of vision describes a psychological phenomenon
where the eye briefly retains an afterimage of recorded information until
Figure 0.33
the next image becomes visible; allowing the viewer to connect
31
16
seemingly disparate images into a legible timeline of events. Next, the

phi effect describes how the mind interpolates a flip book. The
subconscious connects the series of stills by processing the information
with an understanding of the laws of real-world motion. Therefore, the
brain understands that the next image follows a logical progression
based on the principles of movement.
Finally, time, materiality and environmental factors each compel
significant emotional responses related to space. Lighting quality can
change over the course of a day. As the sun sweeps across the sky,
past the horizon, a bright and sunny room becomes dark. Space
Figure 0.34
functions differently during both daylight and nighttime hours. In

addition, seasonal changes can alter a spaces character. A bright and
sunny summer day is often vibrantly colored. However, as summer
fades into fall, the day becomes shorter and the night grows long. A
cold month often produces an abyss of white constancy. As the
weather deteriorates and our contact with the outside becomes less
comfortable the interior accumulates special significance. It should be a
Figure 0.35
sanctuary against a four-month, claustrophobic existence. The

emotional character, related to materiality, can make it a comfortable
living environment.
Material quality can define a spaces mood and feel. For example, a
house with floor to ceiling glazing has a different edge condition than
one with small windows. There is a greater blurring of what is in and
what is out. A situation could arise in which the occupants comfort
level becomes an issue, based on his or her ability to see and be seen.
Visibility could become uncomfortable, depending on the situation and
Figure 0.36
the person. When the barrier between the public and private realm is
removed the feeling of privacy and protection can fade. A material has
specific connotations related to its use in construction and design.
Glass has characteristics of translucency, transparency, and reflectivity.
Its perceived brittleness and light weight have far different connotations
than other materials with greater properties of strength and opacity.
(figure 0.34).
17
Different woods can produce a number of tactile reactions. Their

multitude of colors and densities affect such reactions. Some wood
species appear warm in color, seeming inviting and relaxing. However,
other types are very dark and hard. The color and strength can produce
very different perceptions (figure 0.35).
Stones characteristics are related to strength, heaviness, and a cool
touch. Its solidity and density can provide protection and solitude.
However, its cold feel is uninviting and often uncomfortable (figure 0.36).
Material quality can clearly define the character of a space. In
Bachelards example of the basement-attic condition two similar
spaces project different feelings based on the materials. The basement
is a wash of cold, lonely, subterranean images. The subconscious
lingers on irrational thoughts of an evil nature, often associated with the
horrific criminal activity seen on television. Stories of dark, dangerous
cellars are widespread. On the other hand, the attic, though often dark
and secluded as well, projects itself differently. Its elevated position in
the house and light-colored wood framing (soft and warm) contradict
stereotypical ideas of fear often associated with dark, secluded places.
Each prototype is merely a learned reaction, not consistent with every
spatial application, but still considered fact by the subconscious.32
A prototype refers to an original model on which something is
patterned.33 The model is often based on instinctive notions learned
through everyday experience. The minds specific, predictable reaction
to certain stimuli is often formed during the early stages of human
development. A child begins to explore his or her surrounding
landscape, forming distinct impressions. Each notion is based on and
related to his or her very first environment: home. Phenomenological
thought stems from an understanding that a human invariably judges his
32
Gaston Bachelard, The Poetics of Space (extract) in Neil Leach, ed., Rethinking Architecture: a reader in cultural theory,
(London: Routledge, 1997), 176.
33
18
or her surroundings against a learned set of rules and guidelines.34 He

or she establishes a home place based on a need for comfort,
protection and an understanding of the outside world. Home is the
first physical environment he or she becomes aware of and the site of
his or her very first and most important experiences. It informs
interpretations of other life experiences; structures awareness,
establishes the roots of being, and defines the boundaries of his or her
life condition.
The interpretation of events and spaces is a product of learning about
the outside world through a comparison to our home. We associate
meaning and emotions with objects based on cumulative, past
knowledge which has created a highly probable scenario of reality.
Each prototype can be illusionary, holding no real basis in current truth.
After the womb, our house becomes the most important spatial
experience in our life. It constitutes a psychological bunker of warmth,
serenity and security. Every event holds special significance. We can
look into the surrounding world from the convenience of our window,
watching public interaction from the confines of our secluded,
comfortable environment. This gateway provides passage to,
comparison of and protection from the outside environment. Every
aspect of living within that structure becomes important in establishing
who we are and how we react to outside stimuli. When we change
dwellings we retain collected baggage, transferring it to our new habitat.
Bachelard writes, we bring our lairs with us.35 Information developed
in the original home serves as the basis for our opinion of other
structures.
The principles and theories outlined in this paper provide a basis for
understanding the intricacies of human perception. Through the
manipulation of each, perception can be better predicted and
augmented so as to create recognizable relationships between eclectic
34
William R. Uttal, A Behaviorist looks at Form Recognition, (Mahwah, New Jersey: Lawrence Erlbum Associates, Publishers,
2002), 10.
35
Gaston Bachelard, The Poetics of Space (extract) in Neil Leach, ed., Rethinking Architecture: a reader in cultural theory,
(London: Routledge, 1997), 174.
19
geometries. A composition is developed which arranges geometric

forms, of different implications, based on the perception of shape
color, pattern and light. Visual relation and legibility is the goal. In this
way, very different characteristics can be combined so as to compel the
subconscious into factual beliefs of cohesiveness. For example,
closely spaced red and blue lines appear as a single purple line when
seen from a distance.36 The two distinctly different colors are
combined by the minds eye. As in the example, an interpretation based
on visual information does not always involve fact. The purple color
does not really exist. The mind simply believes it does, until the
proximity changes and the interpretation is modified. Therefore, illusion
can be a powerful tool for combining eclectic forms and geometries.
Illusion is a deceptive or misleading perception of something objectively
existing in such a way as to cause misinterpretation of its actual nature.37
It is an unreality yet to be discovered. Illusion can be as real as
anything else until the point at which it is proven false. For example, a
simple mirage caused by the play of sunlight on the highway, creates an
illusion of water drifting across the asphalt. The mind is fooled until its
proximity is such that the mirage disappears.
Since our perception often depends on previously experienced
phenomenon for recognition we can be forced into believing untruths or
illusions. If an illusionary relationship is never discovered to be so, has it
then become real? Its plausibility is based on a number of
misconceptions, but the inability to prove any false creates a certain
validity. The creation of illusion opens a world of possibilities. A
relationship can be established if the mind believes and our
experience knowledge is unable to find fallibility. A composition of
different geometries can become understood as cohesive. By
dissolving perceived difference; through the process of design,
components can be arranged to create a composition of legibility.
Adherence to the principles of design, involving the compatibility of
color, shape, pattern and light can be undermined.
36
Roy R. Behrens, Art, Design and Gestalt Theory. MIT Press. 9 October 2002 <http://mitpress2.mit.edu/e-journals/
Leonardo/isast/articles/Behrens.html.>
37
20
Thesis
precedents 01
South Court NY Public Library

NY, New York
The project renovates an interior courtyard, enclosing and transforming it to create new spaces for the growing
library. The new construction is merely inserted into the old. The addition makes no effort to mimic the past,
existing design. Instead, it creates something new. The beauty of the project is the continuity achieved by the
architect in uniting old and new styles. Each floor plate aligns throughout the existing and new structure, while a
clear distinction is maintained between the old faade and the newly enclosed court. A skylight overhead and an
aluminum cove, lining the edge of the floor plate, illuminate the interstitial space and walls. Also, the buildings
original rubble footing is used as a design element within the new space, linking the past and present. The
architect intended to preserve the original structures integrity while creating a new, clean aesthetic.38 Integration
between different eras of design is successfully maintained and highlighted.
Figures 0.37, 0.38, 0.39
38
Raul A. Barreneche. Davis Brody Bond gives new life to a Beaux-Arts grande dame, with the Modern new south court of
the New York Public Library. Architectural Record, November 2002, 134-141.
21
Thesis
precedents 02
Howard Street House

San Francisco, CA
The project sets up a distinct game between the public and private realm. What is understood as exterior and
interior? How is each space portrayed with distinctly different characteristics, through one construction? On the
exterior, corten steel creates a strong, impenetrable barrier between the street and residents within. The
ephemeral qualities of light and glass are displayed on the interior.39 The dual action of this faade generates a
unique dialog where the public is shut off from the inner workings of the house, but the owner is given a dynamic
view out. The steel is punctured with holes that create a camera obscura effect in which an image of the outside
is projected onto the inner glass wall. Now, the resident can see out without being seen. Two different effects
are achieved in the faade wall.
Figures 0.40, 0.41, 0.42
39
Clifford A. Pearson. Jim Jennings uses multiple optical effects to animate his Howard Street House in a gritty San
Francisco neighborhood. Architectural Record, April 2002, 102-107.
22
Thesis
precedents 03
Municipal Mortuary
Leon, Spain
The building presents a dramatic link between earth and sky. It is an underground tomb for tombs. However,
the architect wanted the space to have a clear connection with everything above grade. And so, the pool brings
about a union of the earth and heavens. As the sky is reflected in the water it becomes a part of the building. In
this way, two different entities (earth and sky) are united in close relationship. The building attempts to create an
otherworldly realm for mourning the dead, while at the same time enlivening the space to counteract the
perceptions of an underground construction.40 First, the below grade structure provides adequate isolation and
solitude for proper respect. Next, a deep penetration of light, from above, creates an energized space. It is not
heavy or dark like one would imagine an underground space to be. The architect successfully plays a game
between what is expected and what actually occurs. Light and water are used to integrate a number of different
emotional and perceptive qualities.
Figures 0.43, 0.44, 0.45
40
Cohn, David. Between Earth and Sky A mortuary under water creates an Otherworldly Realm for mourning.
Architectural Record, July 2002, 92-97.
23
Thesis
site evaluation: history
The Chicago lakefront has been drastically reinvented sine the 1800s. It no longer resembles the area mapped
by Father Jacques Marquette and Louis Joliet in 1673. Prior to 1830, the shore met Lake Michigan near where
Monroe Street intersects Michigan Avenue, at the northern wall of the Art Institute. The shoreline has been
buried under 5.5 square miles of fill, creating new piers, beaches and peninsulas supporting the soaring
skyscrapers and flowing park systems above.41 Everything east of Michigan Avenue, including the 200-acres of
Grant Park, is reclaimed land. The majority of fill was acquired by dredging the Indiana Shoals sandbar at the
southern end of Lake Michigan and from rubble disposal after the Great Fire of 1871. Breakwaters were
completed in 1874 and 1880, directly to the east, to negate large storm waves from destroying the new shoreline.
Then, in the early 1900s, the area was again expanded to support Adler Planetarium, Soldier Field, the Field
Museum of Natural History, McCormick Place, Meigs Field Airport, and the Shedd Aquarium.42
Construction of the Shedd Aquarium began in the 1920s with an initial donation of $2 million dollars by John G.
Shedd. Through additional contributions by area businessmen and the Chicago Park District, Shedds dream
began to take shape. The site was part of Daniel Burnhams Chicago Plan of 1909, which called for both cultural
and recreational facilities along the lakefront, dispersed throughout public parkland. Its adjacent standing to the
Field Museum gave it both lakefront exposure and a logical, institutional neighbor. Along with the Adler
Planetarium (1930), the first of its kind in the Western Hemisphere, museum campus draws more than four
million visitors each year.43
Currently, the area is in the midst of a $587 million renovation.44 Since the 1996 relocation of Lakeshore Drive to
the west side of Museum Campus the park has been upgraded with new landscaping, bike and running paths,
all completed in 1998.45
The new plan provides 2,500 underground parking spaces across Mctridge Drive and
adds 17 new acres of parkland around the campus. A 250-foot granite wall memorial to the men and women of
41
Julie Dubsky James Hort, Brad Sleeth, Shoreline Processes in Chicago. 21 November 2000. Northern Illinois University. 4
December 2002 <http://jove.geol.niu.edu/faculty/fischer/429_info/429trips/NIF/Chicago_Shoreline.html> page 1
42
Julie Dubsky James Hort, Brad Sleeth, Shoreline Processes in Chicago. 21 November 2000. Northern Illinois University. 4
December 2002 <http://jove.geol.niu.edu/faculty/fischer/429_info/429trips/NIF/Chicago_Shoreline.html> page 3
43
Welcome to Museum Campus Chicago. 2002. Chicago Park District. 4 December 2002 <http:// www.museumcampus.
org/ > page 1
44
Jill Helmer. Soldier Field, museum campus to receive $587 mil facelift. Columbia Chronicle Online. (November 2000).
3pp. 4 December 2002 <http://www.ccchronicle.con/back/2000-11-27/campus3.html> page 1.
45
Welcome to Museum Campus Chicago. 2002. Chicago Park District. 4 December 2002 <http://www.museumcampus.
org/ > page 2
24
the armed forces will also be erected. The plan culminates with the renovation of Soldier Field, creating better
sight lines, more seating and greater venue diversification.46
The Aquarium began with the selection of Graham, Anderson, Probst and White to design the new structure.
Walter Chute, appointed director of Shedd, accompanied by a number of architects began touring the foremost
American and European aquariums. They studied management, construction, display and utilities techniques
and technologies. They were interested in only the newest and most modern facilities. This information would
soon be integrated into the worlds largest indoor aquarium. The Shedd opened in December of 1929 with only
the swampy rotunda exhibit fully stocked and ready for display. Over the next two years, empty galleries were
slowly transformed into amazing exhibit areas housing some of the greatest sea life in one building. It was the
first:
-inland aquarium to maintain a permanent exhibit of both saltwater and freshwater fishes
- aquarium to devote an entire room to the display of home aquariums
- aquarium to transport millions of gallons of saltwater by train
Today the Shedd houses over 6,000 fishes, reptiles, amphibians, mammals and invertebrates of 750 different
species. However, only one-third of the structure contains exhibits; the rest houses the necessary pumps, filters,
reservoirs and 75 miles of pipe needed to maintain the functionality and livability of the aquatic environments.47
In keeping with Daniel Burnhams dream of creating a Paris of the Prairie the building was designed in the
classic Beaux Arts style. Formal elements hold true to classic Greek temple design: Doric columns, elevated on
a platform, support an entrance portico with a broad staircase symbolizing the importance of this institutional
work. The plan follows a traditional Greek cross, with filled-in corners creating an octagon. Detailing is of the
Greek style with a distinctly aquatic twist, while the foyer follows a Roman Basilica plan.48 Wherever consistent
with the classic design, various aquatic motifs were worked into the marble and tile fishes, turtles, shells and
invertebrates, all modeled from life, are seen on every hand.49 Cresting waves flow across the cornices of the
dome bearing Poseidons trident held atop three dolphins. The ceiling contains traditional rosettes, turtle and
scallop shells, while visitors are greeted at the entrance with lights, draped in octopi, suspended from bronze
46
Jill Helmer, Soldier Field, museum campus to receive $587 mil facelift. Columbia Chronicle Online. (November 2000).
3pp. 4 December 2002 <http://www.ccchronicle.con/back/2000-11-27/campus3.html> page 2
47
Karen Furnweger, Shedd Aquarium: Then and Now, (Chicago: Shedd Aquarium Press, 1999), 1.
48
49
Take the Grand Exploration of Shedd Aquarium. 2002. John G. Shedd Aquarium. 23 October 2002<http://www.sheddnet
.org/abt_history_1.html>
25
ropes. The rotunda is flooded with natural light from the ornate skylight, where glass radiates in an everincreasing pattern, mirroring the floor below.50
The Master Plan of the Aquarium focuses on continuing the state-of-the-art exhibitry expected of the Shedd
facility. The plan creates better educational and recreational experiences through a refining of the displays. A
fully interactive and immersive atmosphere is the goal. The two-phase plan will coalesce over a 15-year period.
The Oceanarium (1991) was begun as the initial immersive exhibit, providing the basis for which the Shedds
exhibits will be re-invented. The large addition re-creates a Pacific Northwest ecosystem, integrating Beluga
whales, Pacific white-sided dolphins, sea otters and harbor seals under one roof.51 The construction required the
coordination of:
- 11 miles of piping
- 129 miles of electrical wire and cable
- 1,200 tons of structural steel
- 3,250 truckloads of concrete
- 20,000 square yards of glass
- 364 tons of salt
Sequential renovations include The Amazon Rising exhibit, which opened in 2000. It is a total sensory
experience, immersing visitors in the flood cycle of the Amazon Basin. Plant and animal life is organized into
logically flowing habitats progressing through time. The exhibit documents the yearly cycle of the ecosystem,
showing the rising and receding of the Amazon River. The Indo-Pacific exhibit, opening in 2003, will create an
experiential environment mimicking a reef dive. Its design tells a story connecting the reef to fish, people and
plant-life. The 385,000-gallon tank houses live corals and six varieties of shark. The underground construction
extends out below the original southern terrace, thus preserving the historic architecture of the faade. Phase II
of the plan calls for new exhibits highlighting three additional ecological systems: southern Florida and the
Caribbean; Lake Victoria and East-Central Africa; and Lake Michigan and the rivers and streams of northeastern
Illinois.52
50
52
Take the Grand Exploration of Shedd Aquarium. 2002. John G. Shedd Aquarium. 23 October 2002<http://www.sheddnet
.org/abt_history_1.html>
51
26
Thesis
program precedents
Monterey Bay Aquarium Observations/Notes
Figure 0.46
small sitting groups for observation of large tanks

floor pattern changes from public space to exhibit areas
darkly lit spaces/corridors where exhibits exist
signage lit from tanks and sparse/direct overhead lights
signage for types of fish and plants in each tank
tanks lit from above (open to sun)
portions open to air and exterior sunlight
bird areas are sealed against escape into aquarium (revolving door)
reuse of an old cannery (sardines)
exposed mechanical systems
open pools for touching rays/starfish/other plants and animals
decks to outside spaces
- kayaks can come right up to aquarium bay area
- exterior tide pool filled by rising ocean currents and waves throughout
the day and night
- people in bay can interact with aquarium and its pools
- area isnt restricted or closed
- industrial look of cannery: concrete/metal/glass
- sculpture- water for kids to play with
- exterior auditorium faces ocean and large tidal pool
- double height tanks with stair seating
- cafs/bookstore/souvenirs
New Section
-
anchovies- dome with fish swimming around

blue light and indirect light to wash walls around tanks and signs
undulating ceiling of metal slates to hide air and mechanical
backlit, solid blue tanks in walls
- highlights fish entirely, not environment (no environment
present for jellyfish)
- two story, floor to ceiling glass wall
- experimental areas- water and models of animals (microscopes)
- maze-like and disordered- hard to know where to go next
- large signage- super graphics might help
- plexi-glass with etched animal prints for direction and information
- designated kids area for exploration
- sea life and art combined
- cheesy
- kid-like
- tanks where you can see above and below water (double height
spaces)
- things for kids to climb on to get a better view
- railing- every window has a railing or rocks for kids to climb on
- things low and on their level
27
Summary
The space feels incredibly bright and vibrant, counteracting the traditional dark and stoic nature of aquarium
design. Each different level allows numerous vantage points and views throughout the structure. One tank can
be seen from three entirely different levels, including the machinery used to sustain the exhibits environment.
Interior and exterior group areas provide places for people to sit, rest, and appreciate the exhibits for a time. An
exterior sculpture that rains water provides a perfect place for small children to play while their parents enjoy the
view of adjacent Monterey Bay.
People have an affinity to water and enjoy direct interaction. Contact with the sea is further explored through the
petting area where children can touch and learn about sting rays, starfish and other sea creatures. The
buildings external tide pool is a great natural feature. A demonstration educates people about the intricate
cycles of tidal currents within a cove-like setting. The entire area is teeming with life. Kayaks and swimmers can
come right up to the building, and the beach is just down the shore.
The interior material treatments are very clean and machine-like. They suggest a learning institute. The
materials are elegant, but personal and inviting, with a comfortable atmosphere of discovery and play. Children
are accommodated through designated spaces and a thoughtful regard for their stature. For example, every
exhibit has a railing or stepped formation allowing children a better, closer view of the exhibits. They are
presented with actual, exact and educational data in a fun setting. The discovery of information and sea life
makes the experience enjoyable. Exhibits are set up to promote wandering discovery so no two people
experience the aquarium in the same way.
Monterey Bay breaks from the mold of traditional, interior-oriented aquarium design. Its bright and sunny
disposition invites the exterior environment to participate in the aquatic experience. The presence of the bay
adds to the effectiveness of the institution. Each experiential exhibit allows adults and children to interact,
learning and discovering effectively. The construction is elegant and fun. Children are not negated and adults
are not overwhelmed with cheesy pirate dummies and sunken ship models. An effective mix has been
established.
28
Shedd Aquarium Observations/Notes
Figure 0.47
- covered area for long lines

- large lobby doesnt seem built for people coming into area
- central rotunda is pivot point
- domed, wide wings feel very open
- information above- well placed for adults but kids have trouble
- 4 height to the bottom of each tank
- circular rotunda tank is amazing
- diver swims around and answers questions over speakers
- light dims during show
- video screens
- info on fish is located above tank
- Amazon Rising- first revision of original, old display areas
- water falling and dripping
- skylight from above
- interactive touch screens low for children and adults
- glass panel built to 8 with open netting above
- climate change held in area by glass paneled wall (swampier)
- wings with center tanks are more crowded with people, less space
- halls in between wings, circling the rotunda are bleak even though they
have tanks and displays
- action occurs within rotunda and wings
- large square tanks with flat glass fronts
- new areas are much brighter/ dont have to be dark like traditional
aquarium design
- small activity center for children to learn about sea life
Oceanarium
- skylights in roof make space bright
- caf below
- water looks like an extension of Lake Michigan (visual cues)
- views from below tanks (area seemed cramped as compared to the
upper floor)
- double level tanks (very deep)
- exposed trusses and HVAC
- grid assembly is used to hide HVAC in lower level (wide grid)
- great view of site from oceanarium
- 4-7 panes of glass
- 5 panes high plus an additional 8-10 to accommodate the
trusses and HVAC
- wood wont corrode as easily as metal with the open tanks
Existing African Fish:
- African Lungfish
- Nile Knifefish
- Long Snout Distichodus
- Ornate Bichir
- African Tigerfish
- Orangeback Rainbow fish
- Rock Kirbensis Cichlid
- Angelicus Catfish
Protopterus annectens
Gymnarchus niloticus
Distichodus lussoso
Ploypterus ornatipinnis
Hydrocynus vittatus
Melanotaenia boesemani
Haplochnioms sp.
Synodontis palmas
29
Epinions.com
Shedd Aquarium:
- could only see if adult picked child up
- oceanarium is main attraction (dolphin, whale, otter, and seal exhibit)
- windows into bottoms of tanks are great
- coastal reef region is center of aquarium and wings house exhibits of different coastlines or parts of the ocean
- river otters are cute but exhibit pales in comparison to Montereys aquarium
- poor signage in dim light53
Summary
The classical design of the building does not promote the intended use. Each wing is set up as a separate
gallery of related information. However, each section has no real connective quality and the hallway lies dormant
and unused. The design does not translate well into an aquarium. The functioning of the ticket area is clumsy
and does nothing to provide any formal processional quality. The first experiential space (the central rotunda
tank) establishes an amazing precedent which is never outdone. The rotunda space is set up to provide natural
light from the skylight above, yet display the tank with minimal glare. A crowd constantly huddles around the
space, during and after shows, enthralled by the exhibit. A flat-screen, panel monitor allows everyone a similar,
view on overcrowded days. From there, the experience diminishes as the viewer enters the traditional wings of
the structure. The space is poorly lit, making some of the fish hard to discern. However, the exhibit information
at the top of the tanks is clearly defined and well placed for adult viewing. Unfortunately, a child has a difficult
time seeing the information.
The building is in the process of a two phase renovation that will turn each dark wing into fully immersive,
experiential exhibits. For example, the Amazon Rising exhibit is brighter, and more visually and environmentally
active. It transforms the old, dark environment into a recreation of the natural world, providing a far superior
experience than the original display area. The new Oceanarium is another immersive exhibition space. It
recreates the Pacific Northwest region of the United States with great accuracy. Trees, rocks and lakes fill the
space to capacity. The interior pool seems to extend into Lake Michigan creating a successful illusion. The
auditorium space is adequate and comfortable, providing enough variation for personal discovery, especially in
the viewing areas below.
The Shedd is a comprehensive institution, providing a wide variety aquatic life and environments. Its location is
formidable and gives it tremendous visual opportunities. Unfortunately, its current spatial configuration leaves
53
Shedd Aquarium. 20 October 2000. Epinions. 5 November 2002 <http://www.Epinions.com/trvl-family_travel-zoos-allShedd_Aquarium/Display_~Reviews>
30
something to be desired. Dead space plaques the experience, keeping it from creating a holistic exhibition of
sea-life. Older space is dark and uninviting, while the tanks and information negate child investigation. However,
new exhibit designs create a more in depth learning atmosphere. Information is presented in a fun and elegant
way, inviting every patron to participate in the discovery.
31
Newport Aquarium Observations/Notes
Figure 0.48
- hard to see jelly fish in display

- graphics/ info almost illegible
- interactive displays- push buttons and rivers light up
- circular tank with current so fish have to swim to keep from being
swept away
- corner of square tank distorts the view
- information panels on the side of the exhibit are not as good as the
ones below each tank.
- easier association with the tank
- easier for children to see
- carpeted wall for children to lean against
- roof is black, exposed and fire-treated
- arch of water (see fish from below)
- floor is textured concrete with sand-like feel
- petting area for kids (fake rock cove)
- integrated step for kids
- small theater with pirate motif (very child oriented)
- tank 10x20 = 380,000 gallons of water
- lot of kid-like clutter (murals, dummies, fake rocks, etc.)
- current pumped into tanks to agitate water
- eliminate hiding places to maximize viewing
- long window tank will move people past (hallway use possibly)
- lots of murals and paintings (sea theme)
- distortion increases with closeness to tank and glass
- tall spaces feel better- more chances for things hanging above
- definite, clear path of travel
- places where you can look up into tank
- frames around jellyfish tanks
- tunnels with glass above to connect larger rooms that you can wander
- still pulls you in a certain direction
- grid/mesh-panel used to hide mechanical above
- glass floor was unlit and hard to see through to the display
- alligators below bridge have possibilities but not always entertaining
- tanks with sitting/stepped area so you can see above and below water
- area to see above tanks/behind the scenes viewing
32
Epinions.com
Newport Aquarium:
- dont like being channeled through gift shop and restaurant
- arent able to go back to exhibits at end
- entrance up steps is too much for people to walk up if elevator is crowded
- stroller access is important
- childrens petting area/ interaction (adults w/o children seem to avoid)
- liked the movie theater- feeling like you are in a storm at sea
- hard to see exhibits when there are too many people
- some like being able to see the tops of the tanks @ end (some dont)
- enter aquarium from escalator into the depths of the sea
- bathrooms upon entering important
- people linger in rotunda but spread out as they get into building
- get people in and moving
- some adults are concerned with clear glass spaces/floor but kids love
- clear tunnels are everyones favorite attraction
- info about each exhibit and fish is important (locate it in good place)
- noise can be a problem with children yelling
- sound dampening possible
- gentle music is nice and comforting
- cramped spaces get overcrowded and tight
- no real big, open spaces
- corridor of exhibits- forced through and not allowed to re-enter54
Summary
The design attempts to immerse patrons into an underwater world of fantasy (for example: the escalator down
into the building at the very beginning). The treatments are clearly child-oriented with fake rocks and pirates
dominating the scene. Very little relates to adult patrons. Props clutter and distract from the educational
atmosphere. Children are enthralled by an environment set up specifically for them, but adults have very little
cause for excitement. They have been completely negated in the design process and are forced to adjust to an
environment specified for their kids.
The relationship to the exterior is lacking, creating an introverted experience with an emphasis on underwater
immersion. A low ceiling and cramped quarters add to an uncomfortable, claustrophobic atmosphere. A busy
day produces horribly cluttered spaces where views are obscured and people do not have a chance to see the
exhibits very well. In addition, movement follows a designated path of travel force-feeding people through the
space. No patron is allowed to linger in any one area for long before the conveyer-belt moves the next in.
54
Newport Aquarium. 20 August 2000. Epinions. 5 November 2002 <http://www.Epinions.com/trvl-family_travel-zoos-allNewport_Aquarium/display_~Reviews>.
33
Every person is forced through the cafeteria and gift shop, creating a nightmare for every parent. He or she has
to shuffle children through while they complain of hunger.
The most intriguing experiences are the underwater tubes. Patrons are surrounded by fish and plant-life,
creating a unique 360 degree view of the environment. People seemed to linger in these areas the most.
Unfortunately, fake rock outcroppings and shelters detracted from the elegance of the tubes. The transitory
areas between tubes could have been expanded to provide pausing and wandering points.
The Aquarium is a totally introverted experience with serious claustrophobic consequences. It is a cramped
series of experiences functioning to move people through at a constant rate. The consumer-based strategy for
moving people through reveals a greater commitment to economic satisfaction than education. Material
treatment negates the adult presence and codifies the space for child fantasy. Information is poorly placed and
degrades the learning experience. The aquarium is more concerned with surface image than substantive
learning.
34
Thesis
program
Under water portion-
Sq Ft.
level 001:
mechanical space
3,400 sf
1- main
2- ancillary
(2,378sf)
(1,022sf)
tank display
6,700 sf
mens lavatory
250 sf
womens lavatory
250 sf
In water portionlevel 001:
mechanical space
level 002:
11,700 sf
auditorium
3,800 sf
cafeteria
2,150 sf
tank display (overhead)

information wall
850 sf
1,000 sf
Over water portionlevel 002:
lobby/ information space

tank display
850 sf
3,000 sf
level 003:
tank display
2,050 sf
level 004:
tank display
2,050 sf
level 005:
mechanical space
Totals
2,050 sf
40,100 sf
35
Thesis
purpose and feel of spaces
Under water spaceMechanical space:

(level 001)
This space will provide water circulation and filtration for every tank system in the underwater
area. It will also provide all back-of-house functions as well as storage and maintenance needs.
Tank Display:
(level 001)
These areas focus on the dramatic display of aquatic life. The spaces most important feature is
the floor to ceiling glass wall, looking out into Lake Michigan, back toward the shoreline and the
existing Shedd structure. The construction of an artificial cove or sandbar for informational study
and exposure to the daily processes of the Lake are possibilities. Also along this wall, a number
of circular, floor to ceiling tanks serve a dual purpose as light wells and display systems. They
project up through the space, into the lake and out of the water. They allow light to penetrate the
space from above, simulating that the tanks are not merely contained, closed elements but open
to lake water moving in and out of them. These displays will be flanked with seating areas that
allow visitors to stop and enjoy the fish-laden, columns of glass and the view into the lake along
the exterior wall. These elements attempt to alleviate the claustrophobic feel of the underwater
space, opening it up to various lighting conditions and spatial illusions. Other display systems
will focus on creating an atmosphere of wander and discovery. They establish small, contained
environments all of which meander throughout the space, allowing patrons to slow down and
really appreciate the fish on display.
Mens/Womens Lavatory:
(level 001)
These facilities service the entire building, providing the final stop before exiting the structure.
In water spaceMechanical space:

(level 001)
This space provides the bulk of the back-of-house facilities. It will contain the HVAC systems
and major circulation and filtration systems for the entire building, excluding the over water
portion. It will also provide storage units and mechanical equipment related to the cafeteria
space above.
Auditorium:
(level 002)
Presentations, lectures and shows are held in this space. Its purpose is to display the violent
storms of Lake Michigan in a safe environment. The space is partially submerged beneath the
waves, allowing for the lapping of water across the glass faade even during calm days. In
addition, the sky will be visible to the full height of the ceiling. The play of lightening and waves
crashing against the exterior showcases Mother Nature in all her fury. The inclined surface of
36
the exterior wall provides the optimum view of the sky and maximizes the effect of water
washing over the audience. Safety and security are called into question.
Cafeteria:
(level 002)
The cafeteria is a dynamic space. A patron can enjoy a snack in the sun, provided by the glass
skylights above, or experience the play of water and light beneath the suspended, serpentine
tank. The tank exists at a height where visitors can easily view the fish as it weaves its way
through the space. It increases the energy and movement of the space through an illusionary
dance of light and water across the floor and walls. This area is also open to the auditorium,
allowing views of the storms.
Tank Display:
(level 002)
As a visitor reaches the top of the entrance steps he or she is greeted by a suspended tank
overhead. It implies that after entering the underwater tunnel on shore, traveling through the
lake water and up a grand stair he or she is still beneath the water. Here a group can collect
themselves and enter the lobby/information space on their way to the columnar tank area.
Information Wall:
(level 002)
This wall, which lines the ramp to the auditorium, provides information on every fish exhibited
in the complex. It consists of various fish species encased in acrylic blocks which are then
stacked together and backlit. Pertinent information regarding each fish is embossed on the
acrylic block. As the visitor descends into the auditorium, this undulating wall of information
follows.
Over water spaceLobby/Information space:

(level 002)
The area provides information regarding the entire aquatic complex of buildings as well as
museum campus in general. It will sell materials describing the history and background of the
aquarium annex and its displays. Here, a patron seeking additional information about the fish of
Lake Victoria and East Central Africa can purchase literature, postcards and other trinkets.
Information regarding tours, shows and special lectures is also available. From a design aspect,
this space is clad in glass, emphasizing its role as the minimal joint between the curve and cube
elements. Its opacity tries to perpetuate the view through the space, out over the lake. At
night it glows with a radiance that brings special attention to its position as a joint.
Tank Display:
(level 002)
This level allows visitors to wander freely throughout an array of columnar tanks which project
through the floor plates to a three story height. Each displays a variety of fish, all of which
inhabit the lower stratifications of their natural habitats. Natural light flows in and filters down the
space left void by pulling the floor plates away from the outer shell. This space functions to unify
the cube into one, continuous element through a visual connection spanning numerous floors.
37
Tank Display:
(level 003)
This second floor plate displays fish from the upper stratifications of Africas waters. Each tank
is a continuation of the one below, allowing patrons to spiral upward, around the display itself.
Different views of the fish and their habitats are possible. Each tank becomes a spatial
puncture that engages every subsequent floor.
Tank Display:
(level 004)
This floor has a two-fold purpose. It functions as the back-of-house area where marine biologists
and caretakers have access to tanks and fish. Here, the fish are fed and medically treated.
Chemicals are added and tank cleaning occurs in this area. Secondly, the space functions as a
behind-the-scenes look for visitors. He or she can see the daily routines and processes
required for the continued efficiency and health of the creatures.
Mechanical:
(level 005)
This mechanical space circulates and refreshes tank water as well as conditioning the space
for visitor and habitat comfort. Water filtration and return/supply processes are ducted through
the columns that bound the periphery of each tank. Here, water is circulated through a
continuous joint along the entire edge of the column. Additionally, air circulation is provided by
HVAC equipment on this floor which then ducts air down to the spaces below. A supply stack
occurs at the corner of every floor plate. The air is then directed into ducts which run along the
edge of the slab. The circulation system emphasizes the spatial connection throughout the
volume of the cube, creating a whole.
38
Thesis
thesis relation to building
Any new construction often requires the use of connective materials and
ideas to unite it within its context. Here, perceptual references make the
leap between land-based and sea-based constructions. The
composition is conceived on the basis of psychological perceptions.
Relationships are established between different geometries and spatial
feelings are created and enhanced.
Figure 0.49
A strong relationship to the original Shedd aquarium and Lake Michigan

unites the new addition with both its parent building and site. This
relationship anchors the building, linking it to the land-based structure
and the water within which it sets. The original building is a distinctly
classical beaux arts style.55 The recent Oceanarium addition is grafted
to this structure. It makes use of the Shedds symmetrical geometry,
while creating an edge condition aligned with the shoreline. In this way
the current building has a strong connection between old, new and
lakefront entities. To physically link another addition to this structure
would only compound the issues of context and composition already
present. Therefore, the design solution involved a language related to
the original geometric properties of the Shedd and Oceanarium
addition, modified to take advantage of the Lake site.
First, a line was drawn parallel to the Oceanariums faade, out, over the
water. This became the genesis point from which the geometry of the
Shedd was translated into the new addition. Next, a second line was
traced along the curved facade of the Oceanarium and a rectangle was
superimposed over the original cruciform structure. These shapes were
then mirrored about the line drawn over the water. These elements
became the basis from which the new spaces grew: under, in, and over
the water (figure 0.49). The relationship to the original structure
establishes a visual link between the two, creating a specific location for
its placement in the water.
55
39
The addition is rooted to its location as a figure/ground composition.

It is projected onto the lake in plan and the horizon in elevation. The
Gestalt principle of Surroundedness states that an area seen as being
surrounded by another, larger area will be perceived as a figure.56 In
this regard, the buildings elevation is seen as a figure or foreground
element projected against the horizon line, from the city. Similarly, the
plan creates an figure set against the background of Lake Michigan.
Each of these relationships establishes the new building as a foreground
Figure 0.50
structure (figure 0.50).

The dynamic relationship does not end with its site condition. Design
and placement of the buildings different geometric elements creates
tension. A binary relationship is established between the two abovewater pieces. Each is qualified by the existence of the other.57 First,
obvious physical and perceptual differences are easily identifiable. The
Figure 0.51
shapes themselves have totally different implications. The curve feels

calm, assured and relaxed based on the idea that circles are natural and
complete. Conversely, the cube feels dull, straight forward and honest;
decidedly less natural than a circle or curve.58 These distinctly different
feelings play off one another. In addition, the Gestalt principle of
perceptual organization states that closed or completed figures are
preferred over open or incomplete shapes.59 The curve, an
incomplete form, is at odds with our perceptual nature, lacking adequate
distinction, while the cube, a completed object, takes precedence.
(figure 0.51). Differences are further emphasized by the forms materials
and proportions. The curve is constructed from cast-in-place, striated
concrete, strengthening its position as the horizontal dominant. The
cube is twenty feet taller than its curvilinear counterpart and clad in
vertically oriented steel panels. It is the vertical dominant. Each
56
Daniel Chandler, Visual Perception 6: Gestalt Principles of Visual Organization. July 1997. University of Whales. 21
October 2002 <http://www.aber.ac.uk/media/Modules/ED10510/visper06.html>
57
Edward C. Carterette, and Morton P. Friedman, Handbook of Perception, (New York: Academic Press, 1975), 210.
58
59
40
different element is arranged to compete with the other for spatial

dominance.
This juxtaposition creates purposeful tension and energy. The triangular
arrangement of forms adds to the agitation. Triangles are associated
with tension, action and conflict.60 Here, the eye travels from the
entrance of the curve, out to the cube, across to the auditorium at the
end of the building and back again to the entrance. This positioning
links the shapes in a contextual order (figure 0.52). The cube and curve
become stronger because of their connection and mutual agitation.
Additional cues unite the forms as well.
First, the curve wraps the cube trapping it. It is a derivation of the circle,
visually framing and highlighting anything placed within it.61 Therefore,
as the arc wraps around the cube it embraces the space and places
importance on it as a related compositional element (figure 0.53). The
elevation functions similarly. Viewed from the Shedd, the cube appears
to be totally wrapped by the foreground wall. Also, the angle of the
eastern wall pulls the cube perceptually closer. As the wall angles
toward the base of the cubes structure its proximity changes. The
principle of proximity states that objects which are closer together will be
Figure 0.52
associated.62 Therefore, as the proximity of the wall and cube change,

so does their association. The wall begins to enter the space of the
cube, physically linking the two (figure 0.54).
The two components require one another to form a balanced
composition. In elevation the cube is the vertical dominant, but as the
curved wall slides past, it angles up to a height just below that of the
cube. The distance between the two extremes creates balance for the
Figure 0.53
design while allowing the individual elements to be read separately.
60
61
62
41
- the cubes maximum height is juxtaposed with a minimal

distance from the end of the curve.
- the maximum height of the curve (20 shorter than the cube) is
compared to a maximum distance from the vertical dominant.
In this way the composition is read as balanced, each horizontal
extreme being the place of maximum height for the two geometries
Figure 0.54
(figure 0.55).
The curve and cube also have individual characteristics with perceptual
implications. Each strengthens the individual and compositional
qualities, defining both interior and exterior perceptions. Interior
Figure 0.55
configurations and treatments emphasize the psychological cues

established on the exterior sequence.
The entry experience (into the curve) involves various perceptual
changes and movements. First, visitors enter a land-based pavilion,
descending into an underwater tunnel which connects to the aquarium.
Then, visitors travel upward, along a grand staircase to the
lobby/information space above. A perceived inconsistency greets the
visitor at the top of the stairs. A tank, suspended overhead, lit by a
ceiling skylight system, creates a play of water and light across the floor
and walls (figure 0.56). The visitor has descended into an underwater
tube, climbed a grand stair, and still feels like he or she is below the
Figure 0.56
water level of the lake. However, as the person looks around the space,
he or she spots a view through the lobby, out over Lake Michigan. Now
the illusion is understood: the viewer is above the lake and the water
overhead belongs to a closed, interior display system. The play of water
and light merely enlivens the space with an energetic movement. The
sequence changes perceptually along the path of travel.
Now, inside the curvilinear space an incline exists in both plan and
elevation. The relationship to a graph produces an understanding of
inferiority in the small portion and superiority in the large.63 Here, the
63
42
entry begins at a minimum height and width, expanding along the

horizontal and vertical into a maximum feature; the auditorium. The
sequence suggests this space will be more interesting and compelling
(figure 0.57).
Figure 0.57
Here, the spatial progression culminates and Lake Michigans storms

are on display. Issues of safety, visibility and the movement of water are
also addressed. The auditorium descends into the lake, taking
advantage of an underwater opportunity. Waves will continuously lap
up and onto the inward slanting window faade. Viewers will look into
the water and lightning-filled sky simultaneously. This dramatic effect
challenges our perceptions of safety and comfort. The lake feels as if it
will break into the space creating a strong link between the outside
and inside. An interior water feature at the base of the window facade
Figure 0.58
will bring palpable elements of the outside into the space, playing on the
visitors perception of safety and security.
As the curvilinear space begins to grow from a minimum to a maximum,
the tank, suspended above, develops a reciprocal change. At the top of
the stair a maximum width and minimum depth of water is required to
create the illusion of still being under the lake. However, these
requirements change as the tank weaves its way into the space. Now,
relating to its growing environment, the tank begins to swell vertically. A
reciprocal horizontal shrinkage occurs so the end condition becomes
one of maximum height and minimum width.
The composition and design of the cube also follows an understanding
of perceptual phenomena.
The massing of the space generates a 60x 60 square which hovers
over a glass base. It is clad in heavy, riveted, steel panels. An interior
glass box is slide out and down from the original cube to form the base.
The design creates a large, heavy mass balanced above a thin, light
one. The characteristics are clearly different but the generative forms
have a distinct relation.
43
The spaces structure, lighting and HVAC are used to strengthen the
unity of the two boxes. The structural columns, which support the entire
mass, are pulled up through the space and out the top. These lines
define continuous objects that puncture into and protrude from the mass
suggesting a singular object (figure 0.58). On the interior, display tanks
are created by enclosing the space between columns with glass. The
tanks project through the floor plates, which have been pulled back, up
three levels. This further emphasizes them as spatial punctures that
define the cube as a single space.
Figure 0.59
The cubes lighting, both interior and exterior is essential to its unity. On
the outside, light projects from both the top and bottom, illuminating the
columns that puncture and project from the building. If not properly lit
their perception as a continuous length is lost in the night. On the
interior, skylights illuminate the interstitial space left from pulling the floor
plates away from the exterior walls (figure 0.59). This space allows
visitors to look up and down throughout the space, creating visual
Figure 0.60
connections on a floor to floor basis (figure 0.60).

Finally, the HVAC system ducts through the interstitial space, providing
elements for visual connection vertically. Large supply ducts are located
at the four corners of the floor plates, traveling the entire length of the
space. Smaller ducts are fed along the floors edges to supply air
circulation, in a top down format, from the mechanical floor above.
Figure 0.61
The connection between the curve and cube is the most important joint.
It controls how each piece comes together and establishes how each is
read within the composition. It relates to both, without creating a
perceived dominant. Here, it functions with the dual purpose of being
seen and not, depending on the time of day.
The joint (lobby/info. space) is clad in glass. Its few interior, physical
features allow the space to be largely transparent and translucent.
Figure 0.62
During the day it is minimally existent, allowing the two geometries to

interact without it (figure 0.61). However, at night, dramatic interior
44
illumination draws special emphasis to the space, highlighting the joint

(figure 0.62).
The underwater space functions as a composite and transition piece
Figure 0.63
derived from the relation of the curve and cube. It establishes the exit
sequence and provides a number of notable displays which attempt to
alleviate the claustrophobic feel of being trapped under Lake Michigan.
The genesis point for the curve begins back on shore, where visitors first
enter the tube. Here, an arc is inscribed over the site. It separates and
peels apart to form different spaces: the underwater portion and the
main wall above the surface of the lake. As the arcs split an exit funnel
is created which forms a maximum spatial sequence tapering to a
minimum departure point. The plans decline suggests superiority in
the larger portion, diminishing along the path of travel out of the space.
As the walls begin to close in on visitors, spatial perception becomes
important so people do not feel confined and trapped.
The partition walls begin to alleviate this stress. None touch the 15 tall
ceiling, allowing the space to feel like part of a larger whole, not
confined to a small section. Visitors can not see a defined end to the
space as one would if a corner existed. Therefore the space seems to
be larger and undefined.
Light-wells also help to open up the underwater structure. They serve a
two-fold purpose: bringing light into the space and suggesting to visitors
that an enclosure exists below the waters surface from above. Inside,
they function as tanks, carving out niches within the space where people
can sit and watch the fish. As light hits the water in the tanks it creates a
play of moving light throughout the space. When viewed from the
Shedd, these light-wells appear as figures against the larger ground
(curved wall beyond) (figure 0.63). Also, the perimeter wall projects
above the surface of the water. The light wells suggest a spatial
condition below the waves, while the perimeter wall conveys the exact
dimensions and shape of the element. Now, its relation to the abovewater arc can be seen.
45
The new Aquarium addition is the product of a series of perceptual

principles which unite different geometric elements. The thesis
describes how we, as architects, can successfully combine geometries
in an eclectic fashion.
46
plan 01
47
plan 02
48
section 01
49
Bibliography (Annotated)
thesis and program
Bachelard, Gaston. The Poetics of Space (extract) in Neil Leach, ed., Rethinking Architecture: a
reader in cultural theory. London: Routledge, 1997.
The extract talks about the theory of phenomenology, setting up a distinct relationship between how we react to
life and space to our personal experiences through our homes. Prototypes are introduced as learned,
experience knowledge affecting our daily perceptions. This information provides a base of comparison and
reference for current events through memories of past outcomes. Its reliability is suspect in some cases and can
be proven false in others. The basement-attic condition is introduced as an example of prototypical
information creating false impressions.
Barreneche, Raul A. Davis Brody Bond gives new life to a Beaux-Arts grande dame, with the
Modern new south court of the New York Public Library. Architectural Record,
November 2002, 134-141.
Bechtler, Cristina. Frank O. Gehry Kurt W. Forster. Cantz Verlag, 1999.
His architecture deals with the human mess and how people come to understand design, not with cleaning up
the life condition. The concept of Impression is key in determining how the public feels about and functions
within the building. The sculpture of building imparts feeling to the viewer.
Behrens, Roy R. Art, Design and Gestalt Theory. MIT Press. 9 October 2002<http://mitpress2.
mit.edu/e-journals/Leonardo/isast/articles/behrens.html.>
The article discusses the figure ground relationship, how color may be distinguished, and parts versus the
whole. It is proposed that forms are never seen alone but only within complex figure-ground relationships.
Colors may read differently when juxtaposed against various swatches. The individual can often be read as part
of a whole depending on its grouped composition.
Blake, Peter. The Master Builders. New York: Alfred A Knopf, 1960.
Early in his career Corbusier believed in the balance of total contrast: the superiority of the man-made object to
nature. This shifted to an understanding of the inherent proportional ordering system found in nature. An
investigation of the fluid curve and the line followed.
Bregenz, Kunsthaus. Peter Zumthor. Hatje, 1999.

Visual cues suggest movement through a space. The perception of fluctuating light or seeing the next stair
begins to suggest where movement should be routed. It also suggests that design might be a process of
compressing complexity into simplicity. This process allows the simplicity to grow out of the complexity instead
of holding to the traditional idiom.
50
Carterette, Edward C.; and Friedman, Morton P. Handbook of Perception. New York: Academic
Press, 1975.
Discusses how information is perceived and in what formats it becomes most apparent and readable.
Information organized in a vertical or horizontal format is superior to the oblique. Understanding the way in
which we perceive allows for clearer information presentation and the possibility of illusionary experiences.
Convincing the mind of the existence of illusion is tantamount to actuality
Chandler, Daniel. Visual Perception 6: Gestalt Principles of Visual Organization. July 1997.
University of Wales. 21 October 2002 <http://www.aber.ac.uk/media/Modules/ED10510/
visper06.html>.
The article talks about how we perceive our surroundings based on the principles of gestalt theory. It sets the
basic foundation for gestalt theory by defining observed and documented reactions to perceptual tasks and
activities. Close proximity or spatial consistency of forms produces associated relations. The mind interprets
visual stimuli in controllable and understandable methods. These are continuous, constant and learned
deductive reactions.
Cohn, David. Between Earth and Sky: A Mortuary under water creates an otherworldly realm
for mourning. Architectural Record, July 2002, 92-97.
Dawson Home page. 3 December 2002 <http://www.bcp.psych.ualberta.ca/~mike/Pearl_Street/
Margin/OSHERS.../Biederman.2.4.htm>.
The source provided information on Object Recognition. The term was formally defined and the basic
concepts were discussed. We have the ability to discern an incredibly difficult visual world through the basic
level. Next, the three current theories of object recognition were discussed: the face recognition system, Lowes
SCERPO model, and the geon-based system.
Dubsky, Julie; Hort, James; Sleeth, Brad. Shoreline Processes in Chicago. 21 November 2000.
Northern Illinois University. 4 December 2002 <http://jove.geol.niu.edu/faculty/fischer/
429_info/429trips/NIF/Chicago_Shoreline.html>.
The article talks about the history of Chicago and the more localized portions on which Museum Campus stands
today. From its beginnings as marshy swamp land to its fruition as a major metropolitan area, the city of
Chicago has undergone drastic changes as it has continued to grow and change. The reclamation of portions of
Lake Michigan have provided needed space for a city on the rise and created areas for public leisure. Chicagos
lakefront has become the perfect venue for public parks and institution education.
Eisenman, Peter. Diagram Diaries. New York: Universe Publishing, 1999.

The work talks about the relation of the diagram to the anteriority of architecture. The transformation relates the
parts to the whole and the old to the new. The structure is therefore not without a basis from which to relate and
deviate. Creating blobs on a computer screen negates architectures anteriority to create something with no
basis for relation. It also discusses the idea of perceived connections and movement derived from the imposition
of stills (diagrams) in a cinematic operation. The human eye constantly tries to formulate connection.
51
Furnweger, Karen. Shedd Aquarium: Then and Now. Chicago: Shedd Aquarium Press, 1999.
The book overviews the design, history, exhibits and future aspirations of the aquarium. It was a visionary
proposal by John G. Shedd to enlighten the Chicago population about aquatic life. It was to be the most
comprehensive structure of its kind. Its design was completed in a Beaux Arts style and has since been modified
to incorporate the Oceanarium facilities expansion. The institution has generated a master plan to begin
renovation of the original structure creating dynamically immersive exhibits within a traditional space.
Helmer, Jill. Soldier Field, museum campus to receive $587 mil facelift. Columbia Chronicle
Online. (November 2000). 3 pp. 4 December 2002 <http://www.ccchronicle.com/back/
2000-11-27/campus3.html.>
This article describes the $587 million renovation of Museum Campus and Soldier Field. It discusses future
parking and play-land sites throughout the park. It will also entail the construction of an armed forces memorial
and an overhaul of Soldier Field, providing better sightlines and seating, and a more complete venue for Sunday
football entertainment. Its a very aggressive retro-fitting of one of the oldest stadiums in the United States.
Jaffe, Hans L.C. Picasso. New York: Harry N. Abrams, Inc., Publishers, 1964.
Picassos work challenged conventional sensory perception through the representation of three dimensional
space by a two dimensional media. Figures are analyzed and broken down to their simplest understandable
forms. The relation of the basic, individual elements generates a composition of greater complexity.
Kasenova, Nargis; Misty, Ruskshan; Kozareff, Misha. The On-Line Visual literacy Project. 1994.
Pomona college. 21 October 2002 <http://www.pomona.edu/Academics/courserelated/
classprojects/visual-lit/shape/shape.html.>
We develop visual as well as verbal vocabularies that allow us to dissect shapes into simpler geometric forms.
Certain shapes connote varying visual cues related to feelings and ideas associated with their forms. Definable
reactions to basic geometric shapes, color and contrast variation can be used to exploit the transmission of
information to the public.
Merriam-Webster Online. 25 March 2003 <http://www.M-W.com/cgi- bin/dictionary.>

Morgan, William. Heikkinen and Komonen. New York: The Monacelli Press, 2000.
The book discusses ideas of simplicity and complexity as balancing compositional elements: opposing forces
that require the presence of one another in order to provide a coherent statement. Visual chaos is seemingly
balanced by treatment of the composition. The simple becomes the complex through the process of design.
52
Newport Aquarium. 20 August 2000. Epinions. 5 November 2002 <http://www.Epinions.com/

trvl-family_travel-zoos-all-Newport_Aquarium/display_~Reviews>.
The website listed opinions of patrons whove visited the aquarium. A good deal of the comments involving the
programming of the building was negative. The tight spaces and way-finding were criticized repeatedly.
Opinions were directly related to the number of people in attendance: it seems the structure is not conducive to
large crowds. However, everyone seemed to enjoy the experiential underwater tubes.
Pearson, Clifford A. Jim Jennings uses multiple optical effects to animate his Howard Street
House in a gritty San Francisco neighborhood. Architectural Record, April 2002, 102107.
Richter, Dagmar. XYZ: The architecture of Dagmar Richter. New York: Princeton Architectural
Press, 2001.
It discusses the transformative power of the diagram to map out confrontations of life, producing a reality based
off both the old and new. The map/diagram is not only the representation of design information but a design
possibility in itself. It can inform the process of design exploration and the transformation of the descriptive into
the expressive.
Rowe, Colin. As I Was Saying: Recollections and Miscellaneous Essays. Cambridge:

Massachusetts Institute of Technology, 1996.
This book talks about the idea of literal and phenomenal transparency, which leads into a discussion about the
power and symbiosis of figure-ground relationships. The process of information organization by the human
brain is important to the understanding of shapes and forms within a composition. How people understand the
field within which the figures or forms occur is essential. Figure is inconceivable in isolation.
Shape. 21 October 2002 <http://www.pomona.edu/Academics/courserelated/Classprojects/

Visual-lit/shape/shape.html.>
The source discusses our visually literate skills in recognizing the various ways shapes and forms can be
recognized. Objects can be outlines, different parts of adjacent objects, or negative spaces between objects.
Our understanding of the geometric basis of this information provides us with a basic comprehension of shape
language. Next, specific objects are defined along with their emotional qualities. This information is then related
as potential advertising propaganda.
Shedd Aquarium. 20 October 2000. Epinions. 5 November 2002 <http://www.Epinions.com/

trvl-family_travel-zoos-all-Shedd_Aquarium/Display_~Reviews>.
The websites opinions were generally positive. People especially enjoyed the scheduled shows in the rotunda
space exhibit. Here, concern about child sight lines is resolved through flat screen panels located around the
tank. However, poor signage lighting was a concern in the old wings. The Oceanarium drew the most comment
since it is the newest addition. Its bi-level viewing and realistic environmental displays drew rave review.
53
Take the Grand Exploration of Shedd Aquarium. 2002. John G. Shedd Aquarium. 23 October
2002 <http://www.sheddnet.org/abt_history_1.html>.
The extensive historical background of the Shedd is outlined, dating back to its original conception within the
context of Daniel Burnhams master plan for the city (1909). The architectural design is discussed in depth,
noting the classic motif with a decidedly aquatic twist. The classical orders are highlighted and many of the
pertinent details described. Statistical information regarding the size and capacity of the structure itself are also
outlined and the plans for its future expansion are also brought to light. The building will continue to be a world
class facility with a decidedly conservationist outlook to the preservation of endangered species and their related
habitats.
Uttal, William R. A Behaviorist looks at Form Recognition. Mahwah, New Jersey: Lawrence
Erlbum Associates, Publishers, 2002.
The work discusses human form perception, the idea of part versus whole, and the phenomena of contrast.
Contrast can be used to highlight form or color through the process of comparison. Images are broken into
simpler geometric parts and compared against a library of learned images. The more ambiguous the
information the more the mind tries to apply rules of constancy to the perception. When a specific image is seen
the form will dominate and the rules become unneeded.
Welcome to Museum Campus Chicago. 2002. Chicago Park District. 4 December 2002
<http://www.museumcampus.org/>.
The work talks about the value of Chicagos Museum Campus collectively and individually. Each institution:
Adler Planetarium, The Field Museum and The Shedd Aquarium is discussed historically, presently, and within
the context of the park system. The attractive exhibits and displays are discussed, while future modifications and
additions are outlined.
54

Ucin1053375336-Imp 4 Thesis

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UNIVERSITY OF CINCINNATI

DATE: May 16, 2003

Aaron Michael Bodart

hereby submit this as part of the requirements for the

Committee Chair: David Niland

Figure 0.24 Illustration by author

Figure 0.50 Illustration by author

Shape. 21 October 2002 <http://www.pomona.edu/Academics/courserelated/classprojects/Visuallit/shape/shape.html.>

Architecture is fractured into different methods and styles; Modernism,

and context to produce architecture (figure 0.5).6 Neither methodology

For example, Le Corbusiers interpretation produced the modular, a

That methodology is constantly scrutinized and re-investigated in an

attempt at unattainable perfection. For example, Le Corbusier

product of precedent, a series of layers built through trial and error,

Figure 0.8, 0.9

illusion. The art of architecture is to use momentary illusion for

reinforcing the experience of reality.13 For example, a white square will

I believe visual and stylistic difference can be alleviated through a

Before objects can be composed we must first understand the process

it should be overwhelmed by the number of calculations required to

The Face Recognition System filters stimuli in order to process visual

Dawson Home Page. 3 December 2002 <http://www.bcp.psych.ualberta.ca/~mike/Pearl_Street/Margin/OSHERS.../

2- each region is defined with a geon

Dawson Home Page. 3 December 2002 <http://www.bcp.psych.ualberta.ca/~mike/Pearl_Street/Margin/OSHERS.../

these qualities. It surrounds the figure, creating a common relationship

reference is qualified by and yet qualifies the other objects referred to

Figures 0.17, 0.18, 0.19

to disregard. Our subconscious prefers the world organized into some

- The Principle of Proximity- features which are close together

- The Principle of Pragnanz- the simplest and most stable

understanding of the makeup of images and objects. Each can be

interpreted. Each meaning is widely varying and often dependent on

feature is unable to exist without the presence of the others. For

disrupting the balance of the work (figure 0.27).

effects as well. Because the mind processes information through

the product of line, shape, scale, dimension and motion. Without a

Conversely, a left to right decline feels unstable and negative because of

Merriam-Webster Online. 25 March 2003 <http://www.M-W.com/cgi-bin/dictionary.>

visual frame, but provides dynamic motion. It is used to create points of

color interpretation and perception, which allow our minds to create

perceived difference (figure 0.29). When used properly, hue can

Saturation enhances the vibrancy and feeling of a color. Such an image

psychological characteristics of a color and the composition in which it

it diminishes in size, receding into the distance. This phenomenon is

the next image becomes visible; allowing the viewer to connect

seemingly disparate images into a legible timeline of events. Next, the

functions differently during both daylight and nighttime hours. In

sanctuary against a four-month, claustrophobic existence. The

Different woods can produce a number of tactile reactions. Their

or her surroundings against a learned set of rules and guidelines.34 He

geometries. A composition is developed which arranges geometric

South Court NY Public Library

Figures 0.37, 0.38, 0.39

Howard Street House

Figures 0.40, 0.41, 0.42

Figures 0.43, 0.44, 0.45

Monterey Bay Aquarium Observations/Notes

small sitting groups for observation of large tanks

anchovies- dome with fish swimming around

Shedd Aquarium Observations/Notes

- covered area for long lines

Shedd Aquarium. 20 October 2000. Epinions. 5 November 2002 <http://www.Epinions.com/trvl-family_travel-zoos-allShedd_Aquarium/Display_~Reviews>

Newport Aquarium Observations/Notes