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Memorable Experiences in Architecture: Understanding how buildings affect people emotionally...

Griselda Arteaga Trejo MA/ad Master (MA) in Architectural Design

The University of Sheffield School of Architecture September 2011

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Abstract “It’s not enough just to see architecture; you must experience it. You must observe how it was designed for a special purpose and how it was attuned to the entire concept and rhythm of a specific era. You must dwell in the rooms, feel how they close about you, observe how you are naturally led from one to the other. You must be aware of the textural effects, discover why those colors were used, how the choice depended on the orientation of the rooms in relation to windows and the sun.” Experiencing architecture (Rasmusen, 1989, p. 33) The fast pacing world in which people are living, has changed the ways in which architects design and build; the development of construction techniques and new materials has left architecture without materiality, which translates in a lack of sensory experiences; the senses, other than sight, have been neglected. Architecture built nowadays is more concerned with the looks of a building, its shape and form, more so than with the experience within it; it is almost becoming more sculptural, than inhabitable; it is not inviting, it is alienating. The power of the senses in engaging a person in the experience of space is put aside, and without it, architecture becomes dull and devoid of meaning. This thesis tries to understand how buildings transmit emotion, embody meaning and provide people with a sense of belonging, a sense of place; in doing so, further developed architectural projects will provide visitors with a much richer and memorable experience, by applying the findings of this research project. In order to achieve this, research through the design of an architectural project developed during the academic year 2010-2011, is carried along with an actual sensory experience of a place, as the only way to understand how buildings affect people, is to experience them first hand. Now, because the project is fictional, experiencing it is not possible; nonetheless, the sensory experience of any place is helpful in terms of understanding how they affect visitors. The information obtained from the research by design, and the sensory experience exercise, will not only answer the research question, but many other questions, ranging from the definition of architecture to ways in which architecture becomes memorable; by the end, it will point architects in the right direction to develop projects which will be more inhabitable than sculptural, more inviting than alienating, and not dull and devoid or meaning, but memorable and meaningful.

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Aknowledgements “Through the days ahead I'll think of days before, You made me hope for something better And made me reach for something more...” Diane Warren First I would like to thank two of my tutors, Stephen Walker and Carolyn Butterworth, for making sense of the thoughts I occasionally shared with them, for their patience and encouragement throughout the development of the studio project and this thesis. I would also like to thank my good friend and colleague, Christian García Arreguín, for being “my other supervisor” and for letting me borrow her own supervisor, Lucy Cartlidge, whom I also thank for providing guidance in moments of need, when she did not have to. It was much appreciated. The University of Sheffield and CONACYT, for putting your confidence in me, for accepting me and sponsoring me; for helping me achieve this dream. My friends, who shared their experience as victims of the inundation in Veracruz, caused by Hurricane Karl, in September of 2010; and everyone else who shared their images and videos of the disaster. Without your support, the studio project, and therefore this thesis, would not have been possible. Also those few friends who hesitantly gave me their definition of architecture and let me use their pictures in this thesis. Thank you as well. The people in the architecture studio who took the time to get to know me, who repeated themselves more than once when I would not understand their lovely accents, who explained things to me in more than one occasion and who made me feel as part of their group, even though I did not belong there. You were my teachers and my friends. Everyone in Sheffield who made this place warmer despite of the temperature, who were there for me and shared their knowledge, architectural or not. You made this place home. My friends back home and all around the world, who were with me since day one and have never left me alone; who had more confidence in me than I did in myself, who paid for my coffees when I was broke from applying everywhere and who told me to never give up. You got me here. A mi familia, pero en especial a mis padres, Jorge Luis Arteaga Beauregard y Griselda Trejo Martínez, quienes nunca dudaron de mi, ni dejaron de apoyarme a través del largo camino que ha sido llegar hasta el día de hoy; quienes no me preguntaban por la escuela y mi tesis porque yo les pedía que no lo hicieran; quienes me obligaron a ir a clases de inglés los sábados por la mañana aún cuando yo lo odiaba, y me prometieron que algún día valdría la pena. Gracias por cumplir esa promesa. Finalmente, a esa persona especial; sin su ayuda, apoyo y amor incondicional, esta tesis y este sueño no habrían sido posibles. Gracias por demostrarme que los sueños se hacen realidad. Sinceramente, Griselda Arteaga Trejo

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“All our dreams can come true, If we have the courage to pursue them.” Walt Disney For all those who are still in the pursuit of their dreams. Never stop believing.

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Table of contents Definitions: A Personal Exercise…………………………………………………………………….9 Introduction………………………………………………………………………………………….12 Aims and Objectives……………………………………………………………………...13 Literary Review………………………………………………………………………………………14 The body and the senses………………………………………………………………..14 The auditory system/sense of hearing……………………………………….16 The taste-smell system/sense of taste-smell………………………………..18 The haptic system/sense of touch……………………………………………20 The visual system/sense of sight………………………………………………22 Sense of place…………………………………………………………………………….24 Memory……………………………………………………………………………………..27 Research Strategy…………………………………………………………………………….…….28 Methodology…………………………………………………………………………………….…..30 Location and site………………………………………………………………………….30 Masterplan…………………………………………………………………………….……31 Museum………………………………………………………………………………….….33 The Experience…………………………………………………………………………….38 Plans………………………………………………………………………………………….41 Section………………………………………………………………………………………45 Discussion and Analysis…………………………………………………………………………….46 Conclusion……………………………………………………………………………………………48 Appendixes..…………………………………………………………………………………………49 Isolating The Senses: Another Personal Experience………………………………...49 Chronicles Of An Unannounced Flood Part 1……………………………………….54 Chronicles Of An Unannounced Flood Part 2……………………………………….57 Chronicles Of An Unannounced Flood Part 3……………………………………….58 Bibliography…………………………………………………………………………………………60

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List of figures Figure 1. Subject interviewed: Sun Zavala……….………………………………………………………..9 Figure 2. Subject interviewed: Ricardo Silva…….………………………………………………………..9 Figure 3. Subject interviewed: María Rosa Valle.....……………………………………………………..9 Figure 4. Subject interviewed: César González...………………………………………………………..9 Figure 5. Subject interviewed: Eloy Cue………....………………………………………………………10 Figure 6. Subject interviewed: Antonio Manzano…...…………………………………………………10 Figure 7. Subject interviewed: Adolfo Lara……...………………………………………………………10 Figure 8. Subject interviewed: José Roberto Lagunes...………………………………………………10 Figure 9. Architect Maya Lin…………………….....………………………………………………………10 Figure 10. Architect Mies van der Rohe…………….....…………………………………………………10 Figure 11. Architect Michael Graves……………......……………………………………………………10 Figure 12. Architect Zaha Hadid……………………………..……………………………………………10 Figure 13. Architect John Ruskin…………………...………………………………………………………10 Figure 14. Architect Frank Gehry……………….....………………………………………………………10 Figure 15. Architect Le Corbusier………………......…………………………………………………..…10 Figure 16. Architect Luis Barragán………………...………………………………………………………10 Figure 17. The Vitruvian Man……………………………………………………………………………….14 Figure 18. Sense of sight………………………………………………………….…………………………14 Figure 19. Sense of hearing………………………………………………………...……………………….14 Figure 20. Sense of taste…………………………………………………………………………………….14 Figure 21. Sense of smell…………………………………………………………………………………….14 Figure 22. Sense of touch…………………………………………………………………………..……….14 Figure 23. Jewish Museum: contemplating the void…………………………………………………..17 Figure 24. Jewish Museum: the falle leaves installation……………………………………………….17 Figure 25. Jewish Museum: making sounds……………………………………………………………...17 Figure 26. Jewish Museum: reflecting on the experience…………………………………………....17 Figure 27. Guinness Storehouse: exhibition of barley………………………………………………….18 Figure 28. Guinness Storehouse: exhibition of hops……………………………………………………18 Figure 29. Guinness Storehouse: how smell and taste are stimulated……………………………..18 Figure 30. Guinness Storehouse: pint of Guinness……………………………………………………...18 Figure 31. A&F signature fragrance……………………………………………………………………….19 Figure 32. A&F waiting line………………………………………………………………………………….19 Figure 33. A&F signature greeters at the gate………………………………………………………….19 Figure 34. A&F sign…………………………………………………………………………………………...19 Figure 35. Center for the Sightless and Visually Impaired: sketch…………………………………..21 Figure 36. Center for the Sightless and Visually Impaired: different materials……………………21

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Figure 37. Center for the Sightless and Visually Impaired: different textures……………………..21 Figure 38. Center for the Sightless and Visually Impaired: tactile cues……………………………21 Figure 39. Eco Pavilion: posible arrangement of blocks.................................................................21 Figure 40. Eco Pavilion: another arrangement of blocks...............................................................21 Figure 41. Eco Pavilion: Frida Escobedo at an event.....................................................................21 Figure 42. Eco Pavilion: visitors experiencing space.......................................................................21 Figure 43. Blur Building……………………………………………………………………………………….22 Figure 44. Blur Building: structure…………………………………………………………………………..22 Figure 45. Blur Building: interior space…………………………………………………………………….22 Figure 46. Blur Building: blurred vision inside……………………………………………………………..22 Figure 47. Casa Luis Barragán: geometry………………………………………………………………..23 Figure 48. Casa Luis Barragán: color……………………………………………………………………...23 Figure 49. Casa Luis Barragán: nature……………………………………………………………………23 Figure 50. Casa Luis Barragán: light……………………………………………………………………….23 Figure 51. La Villa: illustration of the aparision of our Lady of Guadalupe...................................25 Figure 52. La Villa: the old Basilica....................................................................................................25 Figure 53. La Villa: the new Basilica..................................................................................................25 Figure 54. La Villa: Juan Diego‟s original tilma in the new Basilica…………………………....……25 Figure 55. La Villa: panoramic view of the Plaza Mariana………………………………….…...…...25 Figure 56. México in North América..................................................................................................30 Figure 57. Veracruz in México……………………………………………………………….…………...30 Figure 58. Veracruz in Veracruz…………………………………………………………….……………30 Figure 59. Aerial view of Veracruz and the site...............................................................................30 Figure 60. Aerial view of the flooded site.........................................................................................30 Figure 61. Floresta flood: water levels inside the neighbourhood.................................................31 Figure 62. Floresta flood: the market in the neighbourhood.........................................................31 Figure 63. Floresta flood: cars and homes underwater..................................................................31 Figure 64. Floresta flood: people trapped on the roofs.................................................................31 Figure 65. Floresta flood: the church in the neighbourhood.........................................................31 Figure 66. Floresta flood: rescue boats from the federal army......................................................31 Figure 67. Floresta flood: lost neighbourhood in the body of water.............................................31 Figure 68. Floresta flood: the interior of a flooded home...............................................................31 Figure 69. Site plan: zoning by north, south, east and west avenues...........................................32 Figure 70. Site plan: zoning by the main routes...............................................................................32 Figure 71. Site plan: zoning by accesses to the site........................................................................32 Figure 72. Site plan: zoning by combining all routes.......................................................................32 Figure 73. Site plan: environmental study........................................................................................33 Figure 74. Site plan: final zoning........................................................................................................33

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Figure 75. Site study model: on a daily basis...................................................................................33 Figure 76. Site study model: during a normal flood........................................................................33 Figure 77. Site study model: during a big flood...............................................................................33 Figure 78. Museum study model 1.....................................................................................................33 Figure 79. Museum study model 2.....................................................................................................33 Figure 80. Museum study model 3.....................................................................................................33 Figure 81. Museum study model 4, to be developed.....................................................................33 Figure 82. Museum conceptual sketches........................................................................................34 Figure 83. Developed museum study model...................................................................................34 Figure 84. Developed museum study model...................................................................................34 Figure 85. Developed museum study model...................................................................................34 Figure 86. Brainstorming notes...........................................................................................................34 Figure 87. Schematic diagram of circulation of the experience route.......................................35 Figure 88. Schematic diagram of circulation of the museum.......................................................35 Figure 89. Site plan: zoning by north, south, east and west avenues...........................................36 Figure 90. Site zoning/circulation study model................................................................................36 Figure 91. Museum circulation study model....................................................................................36 Figure 92. Conceptual sketch of the route and experience spaces...........................................36 Figure 93. Conceptual sketch of the experience spaces..............................................................36 Figure 94. Schematic location of the experience spaces on site.................................................36 Figure 95. Experience space 1..........................................................................................................37 Figure 96. Experience space 2..........................................................................................................37 Figure 97. Experience space 3..........................................................................................................37 Figure 98. Experience space 4..........................................................................................................37 Figure 99. Museum interior 1..............................................................................................................37 Figure 100. Museum interior 2............................................................................................................37 Figure 101. Museum interior 3............................................................................................................37 Figure 102. Museum interior 4............................................................................................................37 Figure 103. Plan: level 0......................................................................................................................41 Figure 104. Plan: level -2.....................................................................................................................42 Figure 105. Plan: level -1.....................................................................................................................43 Figure 106. Plan: level 1......................................................................................................................44 Figure 107. Section through the “experience route”......................................................................45

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Definitions, A Personal Exercise “It is impossible to explain precisely what architecture is, its limits are by no means well defined. Art should not be explained, it must be experienced.” Experiencing Architecture (Bloomer and Moore, 1989, p. 3) When I started studying architecture a long time ago, one of the first things my professors asked me, beside „why I wanted to study architecture‟, was „what was architecture to me‟. Back then I had a hard time trying to answer those questions; I probably answered the way any other person who had not studied architecture would have, because back then, I did not know any better. But the thing is, even to this day, after four and half years of studying it at University, a year and half of working in practice, and almost one year of doing a master degree in architectural design, I am still finding ways to describe architecture I had never thought of before. It must be said that it is not the purpose of this thesis to explain what architecture is exactly, after all, architecture can be many things; it is a very subjective topic, a very hard word to define. Is it an art? Is it a science? Is it the mere act of building? Can it even be defined? If one looks up the word in a dictionary, the answer will be something simple for people to understand, and possibly the way common people, non architects, perceive architecture, something like: “The art or practice of designing and constructing buildings.” But it is fair to say that for architects, architecture is so much more than that. To prove this point, I asked a few people the very same question my professors asked me so many years ago: „what is architecture to you?‟

Fig. 1-4. Professionals in something other than architecture who were asked “What is architecture to you?”; Sources: Sun Zavala, Ricardo Silva, Maria Rosa Valle, César González; all photos edited by Griselda Arteaga Trejo on www.picnik.com, August 2011.

“Something aesthetic in terms of proportions and design.” ~ Sun. Accountant “The design of a structure or building to be materialized.“ ~ Richie. Businessman “Is in charge of the design of constructions.” ~ Maria. Business Administrator “Is the science that aims to create beautiful and aesthetic projects.” ~ César. Industrial engineer. I was not very surprised with these answers; after all, these people were not educated in a school of architecture. They mostly related architecture with the design of beautiful buildings. In contrast, I thought I could try and get a more appropriate definition from people within the field, so I got in touch with friends from when I was studying architecture, and asked them the same question. Their answers, to my relief, were without a doubt what I was expecting:

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Fig. 5-8. Professionals in architecture who were asked “What is architecture to you?”; Sources: Eloy Cue, Antonio Manzano, Adolfo Lara, Jose Roberto Lagunes; all photos edited by Griselda Arteaga Trejo on www.picnik.com, August 2011.

“It’s a whole that influences directly in its users, it satisfies their needs, it’s the formation and deformation of space as an expression of ideas aiming for functionality and aesthetic.” ~ Eloy. Architect “Is the space resulting from the projection of a compound of dimensions that attest the basic needs of its user, aiming that the elements that intervene in the design of the space are adapted to the context resulting in a positive and comfortable environment.” ~ Tony. Architect “Is the combination of art and technique to create inhabitable spaces to serve a specific purpose within the needs of society.” ~ Adolfo. Architect “Is the art of creating or designing spaces that respond to the needs of society.” ~ Jose. Architecture student. Architects understand that architecture is about creating functional and beautiful spaces, but most importantly, they understand that architecture is for its users, for people. Now, although these answers seem much more accurate and closer to the definition I was aiming for, I still felt like there were some things missing; so I could only do one more thing and go to the “experts”:

Fig. 9-16. Architecture Legends whose definitions of architecture I found; Sources: Maya Lin at http://prelectur.stanford.edu/lecturers/lin/; Mies van del Rohe at http://en.wikipedia.org/wiki/File:Ludwig_Mies_van_der_Rohe.jpg; Michael Graves at http://www.microwavecookingforone.com/MichaelGraves/; Zaha Hadid at http://nocountryforyoungwomen.com/?p=1742; John Ruskin at http://www.thefamouspeople.com/profiles/john-ruskin-2.php; Frank

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Gehry at http://www.egodesign.ca/en/article.php?article_id=43; Le Corbusier at http://www.editionedartmag.com/artist-bios/lecorbusier; and Luis Barragán at http://darthblender.com/design/biographies/luis-barragan1902-1988/; all photos edited by Griselda Arteaga Trejo on www.picnik.com, August 2011.

“Architecture is like a mythical fantastic. It has to be experienced. It can't be described. We can draw it up and we can make models of it, but it can only be experienced as a complete whole.” ~ Maya Lin (taken from http://www.dumb.com/quotes/architecture-quotes/; July 2011) “Architecture is the will of an epoch translated into space.” ~ Mies van der Rohe

(taken from

http://thinkexist.com/quotes/ludwig_mies_van_der_rohe/, July 2011)

“Architecture is not all about the design of the building and nothing else, it is also about the cultural setting and the ambience, the whole affair.” ~ Michael Graves (taken from http://www.saidwhat.co.uk/keywordquotes/architecture; July 2011)

“Architecture is really about well-being. I think that people want to feel good in a space... On the one hand it’s about shelter, but it’s also about pleasure.” ~ Zaha Hadid (taken from http://www.designfeast.com/thoughts/index.htm; July 2011)

“Architecture is the art which so disposes and adorns the edifices raised by man, that the sight of them may contribute to his mental health, power, and pleasure.” ~ John Ruskin (taken from http://www.dumb.com/quotes/architecture-quotes/3/; July 2011)

“Architecture is a small piece of this human equation, but for those of us who practice it, we believe in its potential to make a difference, to enlighten and to enrich the human experience, to penetrate the barriers of misunderstanding and provide a beautiful context for life's drama.” ~ Frank Gehry (taken from http://www.artquotes.net/masters/frank-gehry/index.htm; July 2011) “Architecture is the learned game, correct and magnificent, of forms assembled in the light.” ~ Le Corbusier (taken from http://thinkexist.com/quotes/le_corbusier/; July 2011) “Architecture is art when one consciously or unconsciously creates aesthetic emotion in the atmosphere and when this environment produces well being.” ~ Luis Barragán (taken from http://www.brainyquote.com/quotes/authors/l/luis_barragan.html; July 2011)

These people knew what they were talking about; and so, by the fusion of all the definitions acquired I can construct a more acceptable definition of architecture: “Architecture is about designing beautiful and functional spaces for people... but to be understood, architecture needs to be experienced, to work in the context where it is conceived, to incorporate the local popular culture, to manipulate and take advantage of the elements, both natural and architectural, to its favour, and most importantly, it needs to be able to transmit emotion and be life enhancing”. Now all these considerations may seem quite obvious, for architects anyway, but the truth is that fulfilling all of these requirements in a project is harder than one might think, and in this difficulty lies the problem with architecture nowadays, which is the base to the understanding of the development of this thesis.

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Introduction “I had become increasingly concerned about the bias towards vision, and the suppression of other senses, in the way architecture was conceived, taught and critiqued, and about the consequent disappearance of sensory and sensual qualities from the arts and architecture.” The Eyes of the Skin (Pallasmaa, 2005, p. 10) The reason why architecture is perceived as “beautiful buildings” and nothing else by most people, is because it has been stereotyped as one of the fine arts, the arts concerned with the “beautiful”, which is a quality perceived merely by the sense of sight; architecture is essentially visual, an art to be seen, and if people are able to experience it from the inside, if they move within the spaces that constitute it, the experience remains essentially a spectacle of vision. Even books and architectural magazines are filled with drawings and photos and the other senses are given less importance. Truth of the matter is, architects are deeply preoccupied with vision, which is only natural as humans are visual beings, living in a visual world. The perceptions of it, the information absorbed and the signals sent, are overwhelmingly visual in nature. People think and dream in pictures and even when they read, they transform the words into mental pictures. In this thesis, the reasons behind the importance given to the eyes and the negligence of the body and the other senses are not to be discussed, but rather what this situation is causing, and that results in an architecture that makes people feel alienated and detached of the experience of space; design for the eyes creates indeed beautiful works of architecture, but does not help its users feel integrated or as part of it, it is not meaningful to them, it provides no sense of place or identify people whatsoever with their culture. This is exactly the problem with architecture nowadays. In a world where technology improves everyday and construction methods and processes are industrialized, the pace by which architectural projects are developed is fasten as natural materials, that actually “express their age and history as well as the history of their origins and their history of human use”, as it is put in The Eyes of the Skin (Pallasmaa, 2005, p. 31), are being put aside and traded for more synthetic and artificial manmade materials that are easier and more practical to build with. There is clearly a gain in producing architecture in this way, as construction times are reduced and so less money is invested; but at the same time, so much is lost in the process. The industrialization of building processes has affected the way architecture is conceived; in the past, it was important for architecture to expose its true materiality, and nowadays there is a lack of it, as architecture suffers from a deprivation of sensory experiences. With the use of modern materials, the sense of touch is suppressed, which consequently limits the endless possibilities that natural materials offer in terms of sound quality, scents in space and even the taste of it, as the stimulation of the senses of hearing, smelling and tasting are deeply related to the tactile sense. The modern day sculptural like architecture that calls the attention and mainly addresses the eyes more so than any of the other senses may cause a great impact on people looking at it, may even be inviting to be explored, and it will certainly be remembered as an icon; but more often than not, it is all it will ever do for people. On the other hand, there is the more modest kind of architecture, that with a simpler form that is not designed to impact the eyes, but the kind which offers a richer experience when explored, that moves its visitors and evokes emotions. That is the kind of architecture that has been lost, and the kind that should be built more.

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Aims and objectives “Until we can begin to understand how buildings affect individuals and communities emotionally, how they provide people with a sense of joy, indentity, and place, there is no way to distinguish architecture from any everyday act of construction.” Body, memory and architecture (Bloomer and Moore, 1979, p. IX) This thesis aims to understand how buildings affect people emotionally and how architecture can through mere elements of design embody meaning and provide people with a wide range of emotions, identity and sense of place. The objectives are to draw information from the outcome of the design project in junction with the already written research about these topics; explore and experience places in ways never done before to try to understand what they are trying to transmit to their users: hear, smell, taste, touch and see more; describe the experience of space through the isolation of the different senses; re-analyze the design project under the considerations as to what is discovered to be the way to achieve what this thesis explores and finally, suggest how the project could have been better and what can be done to improve it.

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Literature Review The body and the senses “The role of the body as the locus of perception, thought and consciousness; significance of the senses in articulating, storing and processing sensory responses and thoughts.” The Eyes of the Skin (Pallasmaa, 2005, p. 10) The human body is an important element that has been disregarded in architectural design, as it “has not been a central concern in the understanding of architectural form” (Bloomer and Moore, 1979, p. IX) as the book Body, memory and architecture states; the authors explain that its significance lies in the fact that it is through the sense of three dimensionality originated in it, that people are able to understand space when experiencing it. People experience space through the senses: which perceive, store and process responses, become integrated through the body, and connect people to the world. Channelling the words of William Shakespeare, if “All the world's a stage, and all the men and women Fig. 17. The Vitruvian man, as drawn by Leonardo da Vinci; source: merely players”, then architecture can be described http://en.wikipedia.org/wiki/Vitruvian_Man; image edited by Griselda Arteaga Trejo on as the set where men and women perform, the place www.picnik.com, August, 2011. where people experience and understand the world. As put in Questions of Perception: phenomenology in architecture (Pallasmaa, 1994, p. 41), ”architecture, more fully than other art forms, engages the immediacy of our sensory perceptions”, perceptions that are integrated through the body and strengthen the human existential experience and sense of being in the world. In the experience of architecture the users are able to perceive the interaction and fusion of sounds and smells, colours and textures, lights and shadows, the relations of scale and proportion and even the passage of time; only architecture can and must address simultaneously all of the senses, for it is a multi sensory experience.

Fig. 18. Sight

Fig. 19. Hearing

Fig. 20. Taste

Fig. 21. Smell

Fig. 22. Touch

Fig. 18-22. Photos taken by Griselda Arteaga Trejo, August 2011; photos edited by Griselda Arteaga Trejo on www.picnik.com, August 2011.

In the book The Senses Considered as Perceptual Systems, (Gibson, 1966) the author, an American psychologist expert in the field of visual perception, acknowledges the existence of five senses “capable of obtaining information about objects in the world without the intervention of an intellectual process”. The author calls them, as the title of the book suggests, “perceptual systems” and just like the five senses everyone knows, they involve

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sight, hearing, taste, smell and touch but they are called the “visual system”, “auditory system”, “taste-smell system”, “basic orienting system” and “haptic system”. Some of this “systems” are quite self explanatory, while the basic orienting and haptic need further explanation, as they are also more important, so to speak, in the understanding of three dimensional space. The basic orienting system refers to the way the body postures itself and how due to this posture the other senses are equally oriented towards its position; the haptic system is nothing more than the sense of touch, understood in a way that involves not only the hands, but the entire body, and includes sensations such as pressure, warmth, cold, pain and kinaesthetics. (Bloomer and Moore, 1979, p. 34) All the senses are said to be extensions of the sense of touch, or the haptic system; in fact “sight detached from touch could not have any idea of distance, outness or profundity, nor consequently of space or body” (Pallasmaa, 1994, p. 42), for it is through touch that people sense not only the shape of an object or space, but also its materiality, weight, resistance, temperature, pleasantness or lack of it; with the sense of sight, the users are able to explore space, but with the sense of touch, they are able to approach it and feel it. It is the only sense which deals with the three dimensional world and can make changes to it as it experiences it. Whether they are called “perceptual systems” or simply “senses”, they are all important as all of them are able to perceive the characteristics of space in their own way. If this was not possible, then a disabled person, whether visually or hearing impaired, would not be able to experience and enjoy space. This is why it is so important to address all the senses when designing a building.

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The auditory system / sense of hearing “We stare alone at the suspense of a circus, but the burst of applause after relaxation of suspense unites us with the crowd.” The Eyes of the Skin (Pallasmaa, 2005, p. 51) In the same way a space is thought of as beautiful for its form, perceived by the eyes, it can be equally enjoyed for its acoustic qualities, its echo, vibrations and resonant sounds perceived by the sense of hearing, which is, more often than not, an unconscious experience. The echo of a building depends on the materials from which it is made of as well as from the size and form of the space, amongst other things; even if a person was not able to see, sound itself is capable of giving an idea of form, size and material, scale and proportion, moreover, the sounds produced in it can tell a little bit about what goes on inside and sometimes outside said space. In the article Should You Add Sound to Your Building Design? (Lehman, n.d) the author, a designer and researcher from the United States, with a Master in Design from Harvard University, implies that it is only natural for architects to be concerned with the elimination of noise within their buildings, noise being understood as a sound that interferes with whatever activity is supposed to take place in their space; but some architects have become completely obsessed with the absorption and suppression of echoes, and so they are “silencing” buildings, cancelling an important sense. The importance of hearing in the experience of space is often unnoticed, but it is certainly useful to understand it. In The Eyes of the skin, (Pallasmaa, 2005, p. 49) the author carries a comparison between the senses of hearing and sight, talks about acoustic intimacy and explains that the sense of hearing incorporates and makes the users part of the experience of space as sound is omni directional and perceived by the entire body, as opposed to sight, which is isolating and directional; he says “buildings do not react to our gaze, but they do return our sounds back to our ears.” Sound envelops the users, it provides a feeling of interiority, which is how space can be understood. In the book Spaces Speak, Are You Listening? (Blesser and Salter, 2007, p. 3) the authors mention that sometimes, hearing and sight reinforce each other, and they provide the following example: “the visual vastness of a cathedral communicates through the eyes, while its enveloping reverberation communicates through the ears.” Also in the book, the authors briefly discuss the influence that aural architecture can have in moods and associations, even though people are not consciously aware of this; continuing with examples in religious buildings, they suggest that “the acoustics of a grand cathedral can create an exalted mood while those of a chapel can enhance the privacy of quiet contemplation.” (Blesser and Salter, 2007, p. 2) Knowing this, Lehman (n.d) suggests that when designing a space, the architect needs to think about what noises need to be kept out, and what sounds need to be encouraged and deliberately designed, for some of them can contribute to the thoughts, behaviour and emotions of the occupants, and as stimuli to the processing of the other senses. A great example of architecture which uses deliberate sound as a trigger for thought, is without a doubt the Jewish Museum in Berlin by American architect Daniel Libeskind; the installation called “Shalekhet” (Fallen Leaves) in the Memory Void, consists of merely 10,000 iron plates roughly shaped like human faces laying across the floor. As the visitor walks all over them, the sounds they make echo around the space evoking the cries of the victims of

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the holocaust. This powerful connotation in space, not only alters the mood, but also makes the visitor reflect upon the experience.

Fig. 23. Contemplating the Memory void.

Fig. 24. The “Fallen Leaves”

Fig. 25. Making sounds

Fig. 26. Reflecting on the experience.

Fig. 23-26. Source: Liliana Vivieros Díaz, August 2011; photos edited by Griselda Arteaga Trejo on www.picnik.com, August 2011.

This example is also a case of hearing and sight reinforcing each other: the idea of the sounds provoked by the plates as cries of victims, is reinforced by the fact that the plates are shaped like those victims; it is hard to imagine not being moved by this experience. All in all, sound needs to be incorporated in more than just music and religious venues and it should do more than just help the users get an idea of the characteristics of the space; knowing the potential it has to enhance the architectural experience, more architects should start incorporating aural experiences to their designs.

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The taste-smell system / sense of taste-smell “The fragrance of a bread shop projects images of health, sustenance and physical strength, whereas the perfume of a pastry shop makes one think of bourgeois felicity...” & it makes my mouth water. The Eyes of the Skin (Pallasmaa, 2005, p. 54) Gibson (1966) grouped the senses of smell and taste in one “perceptual system”, the “tastesmell system”, which is only natural given that both senses are deeply connected; basically there is no sense of taste, without the sense of smell, for when someone tastes food, there is a need to be able to smell the odours it releases in order to perceive flavour. This is why when people are sick and the nose is blocked, food tastes bland. The idea of “tasting space” does not literally refer to the act of savouring it; in a way, space is tasted through the combination of the senses of smell, touch and sight, when the scent of a space plus the shape, texture and colours of its materials evoke oral sensations. A case of the combination of these senses in the perception of space, was personally experienced at the Guinness Storehouse in Dublin, a visitor center dedicated to the history and making of the Guinness beer. Passed the lobby of the building, one enters an area named “Ingredients” where the displays of the beer‟s ingredients release a mixture of smells of barley, hops, yeast and water, which can almost make one taste the flavour of the beer and suddenly crave a pint.

Fig. 27. Barley as exhibited in the Guinness Storehouse.

Fig. 28. Hops as exhibited in the Guinness Storehouse.

Fig. 29. How these senses are stimulated in space.

Fig. 30. Pint of Guinness

Fig. 27-30. Photos taken by Griselda Arteaga Trejo, July 2011; photos edited by Griselda Arteaga Trejo on www.picnik.com, August 2011.

As far as the sense of smell, it is safe to say that if one was to think that it is not as relevant for the experience of space as other senses, then one would be wrong. If the smell is neutral people may not notice it sometimes, but when it is good or bad, there is certainly something to say about it; people do not leave a place because they are not happy or uncomfortable with its colour, shape, lighting or its acoustic qualities, but they will certainly leave it if the smell is unpleasant, and that is quite relevant. Smells in buildings come from the materials of it, as well as from the activities taking place within it, and the surrounding environment; therefore, different places will have different smells. Because some spaces are identified with certain smells, like a bathroom, a garden or a kitchen, a person could try to experience a building with no other sense than smell, and could probably be able to find the way around. In the article Scent as Design for SEED Magazine (Wisten, 2010) the author interviews the organizers of an event called Headspace: On Scent as Design, a one-day symposium on the conception, impact, and potential applications of scent as new territory for design. In this

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interview, it is critiqued how in modern architecture, smells are often eliminated or covered through new finishes, air control systems and antiseptic surfaces, without considering their great potential; furthermore, it is acknowledged that beyond providing a healthy and pleasant environment in space, the sense of smell has the ability to trigger behaviour, memory and mood, as it is linked to parts of the brain that deal with emotions. This is broadly discussed in the article Olfaction and Memory (Neumann and Medwid, n.d) where it is explained that the sense of smell evokes emotionally potent memories because of the proximity of the part of the brain where olfactory processes take place and that which is responsible for emotions and memory. According to the article Scent as Design (Wisten, 2010), people inadvertently make associations when experiencing a scent; this is how scents become part of a brand and even popular culture. A case of this was found through a recent personal experience: walking down Champs-Élysées in Paris, this incredibly rich scent struck the ambiance, a man‟s cologne, which happens to be the signature scent of Abercrombie and Fitch. Looking around, a group of people waiting in line outside a beautiful gateway guarded by two very attractive male models was found; as it turns out, the store was right there, but it was actually nowhere in sight; the scent previously recognized announced the location, and thus the presence of the store.

Fig. 31. Fierce, signature fragrance of A&F.

Fig. 32. Waiting line to enter the store.

Fig.33. Signature greeters at the gate.

Fig. 34. A&F logo

Fig. 31. Source: http://www.abercrombie.co.uk/webapp/wcs/stores/servlet/ProductDisplay?catalogId=10901&categoryId=12232&langId=1&productId=272918&storeId=12406, August 2011; Fig. 32-34. Photos taken by Griselda Arteaga Trejo, August 2011; all photos edited by Griselda Arteaga Trejo on www.picnik.com, August 2011.

The previous example shows that by stimulating the sense of smell architects can make people react, think or feel a certain way, because of the associations they have to particular smells, which of course may vary from one person to another; but in the end, scents add texture, depth and richness to the experience of space, and a higher level of symbolism in terms of human connection to meaning and personal stories.

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The haptic system/ sense of touch “The total perception of architectural spaces depends as much on the material and detail of the haptic realm as the taste of a meal depends on the flavours of authentic ingredients”. Questions of Perception: Phenomenology in Architecture (Pallasmaa, 1994, p. 91) In the book Experiencing Architecture, (Rasmusen, 1989, p. 176) the author describes how Walter Gropius believed that the senses needed to be trained to a higher degree of awareness, than in ordinary schools, and so in the Staatliches Bauhaus, the school he founded in Germany in 1919, students learned about materials through their own experiments, putting special emphasis on the sense of touch. Even back then, people were aware of the loss of sensitive awareness in textural surfaces, and believed that training young architects and artists in the sense of tactility would improve the production of high textural quality in all sorts of designs. In the article Maximizing the sense of touch in adaptive architecture, (Lehman, n.d) the author tackles the importance of the sense of touch in architecture, stating that it lies within the fact that it is the most informative sense human beings possess; even if a person was not able to see, when one stops to think about it, by touching, this person could easily get an idea of how the space is shaped, what it is made of, the resistance of the material, how soft or hard it is, its temperature, and overall, picture what it looks like and what it is used for; at the same time, the feel of the ambiance perceived through the body, turns into an experience of space and place and the sense of touch helps the users understanding it in a way that none of the other senses can. It has already been said that the problem with architecture nowadays is its lack of materiality; when the sense of touch is suppressed, the experience of space is poor, as users are not engaged in the experience, but are merely visitors in that place. Touching makes the visitors feel part of something, in this case the visited space, in the same way people feel close to someone when touching them. The best way to incorporate the sense of touch in architecture, and with this, engage the users in the experience of the space, is by the use of materials and textures, that not only bring life to space but also create a unique and richer experience for the senses: different surfaces invite the users to experience them not only with their hands, but with their entire bodies, to feel them, to sense them, even to taste them. Moreover, as exposed in Body, Memory and Architecture (Bloomer and Moore, 1979, p. 71) “changes of textures often signal special events and can trigger a slower or quickening of one‟s pace.” This notion implies that architects can design the way they want the users to move around the building, by the change of textures in the space. An appropriate example to this use of texture in architecture is the project of Mexican architect Mauricio Rocha, in Mexico City, titled Centro de Invidentes y Débiles Visuales (Center for the Sightless and Visually Impaired), a social and cultural center that aims to improve the integration of the visually impaired to society. In the project, different materials are used within the complex, including concrete, different kinds of stones, glass, steel, and even water; tactile cues are provided so that the users of the building can find their way around, such as: vertical and horizontal lines in the concrete walls, located at hand height to

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identify the different buildings, and lines of stones and a water channel along the floor which help guiding the routes around the site.

Fig. 35. Sketch of the textures of concrete

Fig. 37. Different textures on opposite walls.

Fig. 36. Different materials to identify a building

Fig. 38. Tactile cues on the floor.

Fig. 35-38. Source: http://www.plataformaarquitectura.cl/2011/08/05/centro-de-invidentes-y-debiles-visuales-taller-de-arquitecturamauricio-rocha/, August 2011; all images edited by Griselda Arteaga Trejo on www.picnik.com, August 2011.

Another important thing to think about regarding the tactile sense, is how the use of different materials can, not only change the perception of space, but also the way people will feel within it, which depends on each person. A space can have the exact same size and form, but the change of its materials will cause different sensations; for example, an inhabitable cube made of brick might make one feel claustrophobic, and one made of glass, might make the same person feel safe because of the ability to see what is in the surroundings; to another person, the brick cube might represent safety, while the glass one might represent insecurity and overexposure. It has been said before that the haptic system or sense of touch is the only one who can alter the environment as it experiences it, so considering this, architects have the opportunity to design interactive spaces with surfaces or features where the users actually collaborate in creating and altering the space. A great example of this is Frida Escobedo‟s Eco Pavilion at the Museo Experimental El Eco in Mexico City; with the repetition of one element, the concrete block, and its stacking as some kind of topography on site, the proposal manages to accommodate different arrangements according to the needs of the space, and it offers the visitor the chance to reconfigure it themselves and even the chance to take a piece of architecture home when leaving the museum.

Fig. 39. One of the possible arrangements of the space.

Fig. 41. Frida Escobedo during an event at the Pavilion.

Fig. 40. Another configuration of space.

Fig. 42. Visitors experiencing the space during the same event.

Fig. 39-40. Source: http://fridaescobedo.net/frida_web/projects/Pages/El_Eco_pavilion.html, August 2011; fig. 41-42. Photos taken by Griselda Arteaga Trejo, June 2010; all images and photos edited by Griselda Arteaga Trejo on www.picnik.com, August 2011.

Lehman (n.d) reckons that as architecture continues to evolve, the way in which users interact with buildings will too, as architecture becomes responsive; but whether this happens or not, what is important is not to lose this interaction between the space and the users, and not to forget that in deciding what materials to use in space lies the opportunity to create a memorable tactile experience.

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The visual system / sense of sight “I urge you to open your eyes. Do you open your eyes? Are you trained to open your eyes? Do you know how to open your eyes, do you open them often, always, well?” Le Corbusier as quoted from The Eyes of the Skin (Pallasmaa, 2005, p. 27) Although it has been criticized how much architects are concerned with the looks of a building and how much importance they place on form and aesthetics, it is a fact that what most people first notice about buildings, is exactly how they look. If one thinks about it, when asked to describe a place, the description will not state: “the acoustics were great!” or “the place smelled really nice”; more likely it will state something like: “it was big, bright and yellow”, which are characteristics of the space perceived with the eyes. Indeed, the sense of sight is very important in architecture: with the eyes people are able to perceive the form, size, depth, colour and texture of a space; they are even capable to notice the pass of time throughout the day, due to the changes in light, which is another very important element in the experience of architecture, for the spatial impressions it is capable of providing, when manipulated in the right way. But just as light, shadow is equally relevant in the experience of space; in The Eyes of the Skin (Pallasmaa, 2005, p. 46) the author reflects upon the fact that people tend to close the eyes during emotional experiences. He writes that “deep shadows and darkness are essential because they dim the sharpness of vision, make depth and distance ambiguous, and invite unconscious peripheral vision and tactile fantasy.” Dim lights and shadows in space stimulate the imagination the same way mist and twilight do, and that is because what users are capable to see becomes unclear and ambiguous, creating an interesting experience. This experience is made possible in The Blur Building, a Pavilion by Diller, Scofidio + Renfro, a New York based Firm. The building is located at the base of the Lake Neuchatel in Yverdonles-Bains, Switzerland. They call it “an architecture of atmosphere”, where natural and manmade forces create a foggy mass that surrounds the structure of the building; upon entrance, vision is blurred in order to demonstrate at a great scale how much people depend on it, and ironically, it fails to perceive all of the conditions of space it would notice otherwise. Talk about a memorable experience.

Fig. 43. The blur building.

Fig. 44. The structure.

Fig. 45. Interior space

Fig. 46. Blured vision inside the building.

Fig. 43-46. Source: http://www.dsrny.com/, August 2011; all images edited by Griselda Arteaga Trejo on www.picnik.com, August 2011.

When it comes to design for the eyes, it is the job of the architect to take advantage of the many elements, architectural or natural than can enhance an architectural project, besides the right use of light or shadows. The form is one of the most important things users perceive

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with the eyes, for it informs whether the space might be safe to explore or not; pointy or edgy surfaces might give a sense of danger or insecurity, even if they are not being touched, while rounded edges are more friendly and inviting. In Experiencing Architecture, (Rasmussen, 1989, p. 218) the author elaborates on the use of colour, saying that it not only addresses the character of a building and suggests its function, but it also can accentuate forms: it can make objects seem lighter or heavier than they are, large or small, near or distant, cool or warm; the author also references an unknown German theorist who suggests that colour can equally emphasize and differentiate what is up, from what is down; he said that colours need to address this orientation and so he related tones of clay or ground to the floor, bright colours as those of flowers and trees to the walls, and light and airy “sky like” tones to the ceilings. This makes complete sense: walking on pink floors would be like walking in a cloud, and having a black ceiling over our heads would be like carrying a heavy load. (Rasmussen, 1989, p. 219) The works of Mexican architect Luis Barragán can fall into the category of visual architecture, cause it mostly addresses the eyes: it is very formal, his designs are based on geometrical compositions with basic elements; it is colourful, accentuates elements and differentiates ground, from walls and ceilings; it is concerned with people‟s relation to nature, so views of the surroundings are often framed. Nonetheless, it implicates more than just that; it is concerned with the creation of ambiances in space, which the architect believes can inspire people, and this is pursuit and achieved through the manipulation of light, in order to change perceptions within the same space.

Fig. 47. Geometrical elements in the composition.

Fig. 48. Different use of colour in walls and floors.

Fig. 49. The connection to nature is framed.

Fig. 50. Use of light to change ambiance in the space.

Fig. 47-50. Source: http://www.plataformaarquitectura.cl/2011/08/09/clasicos-de-arquitectura-casa-estudio-luis-barragan-luisbarragan/, August 2011; all images edited by Griselda Arteaga Trejo on www.picnik.com, August 2011.

Colour is also a powerful communication tool which can be used to signal action, trigger emotions and attitudes, and it can have an impact on performance. There are a whole lot of studies about colour as a factor in human behaviour that architects recur to in order to support what they want to express through the use of certain colours in space. It is not wrong for the architect to be concerned with the formal and aesthetic aspects of architecture, but the right approach for architectural design needs to go beyond visual appearances and be conscious of all the senses; as put by the author in the book Intertwining: “the experience of material in architecture is not just visual but tactile, aural, olfactory: it is all of these intertwined with space and our bodily trajectory in time.” (Holl, 1996)

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Sense of place “Doy gracias a la arquitectura porque me ha permitido ver el mundo con sus ojos” (I thank architecture for it has allowed me to see the world with its eyes”) Rafael Moneo When a place is capable of leaving a mark on us, in our bodies and our minds, it is said to have a strong sense of place. In the book Body, Memory and Architecture (Bloomer and Moore, 1979, p. 107) the authors imply that the process of acquiring a sense of place occurs in time, goes beyond the visual impression and is complex, more so than the image which people will later remember; for people remember a place for its uniqueness, because of the impressions it has made in their bodies, and because of the associations they make within. There is no universal definition for the term “sense of place” as it is an abstract concept; basically people develop a sense of place through their experience of it. It has to do with the knowledge of the place and its culture, but most importantly it has to do with the memories of it, the ones people create there. A place becomes special when the views, sounds, local people, tastes and even the smells mean something to the visitors or even the inhabitants of that place; when those who use it can identify themselves with it. By these means it is possible to define a place and to be tied to it. Evidently, memory and the sense of place are closely linked; according to the article “Neuroscience and Architecture: Seeking Common Ground” (Sternberg and Wilson, 2006) they are both involved in the same part of the brain, and so it explains that “our memory of events may depend upon a strong sense of place, and by extension, our sense of place may be influenced by the integrity of the memories formed there.” Not only architecture can provide people with a sense of place, but it is important that it does so; it will happen when it is capable of creating a truly memorable experience for its users. The importance of the stimulation of the senses in creating a meaningful experience has already been extensively discussed, but it is not the only way; Mexican designer Héctor Galván believes that incorporating popular and traditional culture in the experience of space is another way to provide a sense of place, for culture is an important factor in shaping one‟s identity, and also because it links people to the place, its history and traditions. For Catholics everywhere, specially Mexicans, La Villa in Mexico City has without a doubt a very strong sense of place, as the history of Catholic faith becomes present through architecture. La Villa is the complex where the Basilica de Nuestra Señora de Guadalupe (Basilica of Our Lady of Guadalupe), Templo Expiatorio a Cristo Rey (the old Basilica) and other smaller Churches are located, around a central square. This is one of the most important sanctuaries of Catholicism in the world, and is visited by millions of people every year, because of the history that surrounds it. It is located at the foot of the Cerro del Tepeyac (Tepeyac Hill), where the Lady of Guadalupe appeared to Juan Diego in 1531, and it now houses the original Tilma (apron) where her image was miraculously imprinted as proof for the bishop of Mexico, Fray Juan de Zumárraga, that she had indeed showed herself to Juan Diego. Standing in the middle of the square one can see the new Basilica on the left, the old one on the right, and in the background the Cerro del Tepeyac (Tepeyac Hill), with its humble

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Chapel. One can smell the scents of street food and traditional sweets sold in the marketplace, and hear the sounds of it, just outside the gates that lead into the square, where one can also hear chants of the choir inside the Basilica during mass; groups of people of all ages, races and nationalities, gather around the square to take in the view before deciding where to attend first. In this place, the history and the past are not erased; the new Basilica, was not built to replace the old one, as the old one did not replace the original Chappel on top of the hill; each one is an evolution of the previous, each is unique and important, and they all co-exist, complementing each other. Past and present fuse into the same place, giving sustenance to the Catholic faith and the history of Mexico.

Fig. 51. An illustration of the apparition in the Tepeyac.

Fig. 53. The New Basilica

Fig. 52. The old Basilica.

Fig. 54. Juan Diego‟s tilma inside the new Basilica.

Fig. 51. Source: http://www.diosjesustehabla.com/Guadalupe/home_juandiego_.htm, August 2011; Fig. 52-54. Photos taken by Griselda Arteaga Trejo, September 2010; image and photos edited by Griselda Arteaga Trejo on www.picnik.com, August 2011.

Fig. 55. Panoramic view of the square Plaza Mariana; source: http://upload.wikimedia.org/wikipedia/commons/4/43/BasilicaPlazaMariana.jpg, edited by Griselda Arteaga Trejo on www.picnik.com, August 2011.

In the article entitled Designing a sense of place: don’t forget memory! (Lehman, n.d.) the author talks about how the ability to interact in space with other users, as well as with the space itself, gives a feeling of belonging rather than just passing through it; Lehman also mentions that the incorporation of certain architectural elements can help a space to be remembered as they become some sort of signals that guide the users and help orienting them through the building. All of these elements are helpful to provide a strong sense of place. The sense of place depends vastly in the interpretation given by each user of the space, and this interpretation depends on social, cultural and economical factors as well as the user‟s education; a person who has been educated in architecture will have a broader criterion to interpret and understand the intentions of the architect. However, the interpretation of other people is no less valuable, whether they understand the architect‟s intention or not; Mexican architect Mauricio Rocha believes that although sometimes people‟s perceptions greatly

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differ to the architect‟s original intention, this enriches the work even more, as users discover meanings the architect had not even thought of himself. When the architecture is experienced, and the experience is memorable, it becomes personal and it stops belonging to the architect; it becomes about what one perceives because one makes the space their own through that personal experience, and so when the person leaves the space and tells other people about it, it is that experience that is shared, personal perceptions and interpretations.

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Memory “In the experience of art, a peculiar exchange takes place; I lend my emotions and associations to the space, and the space lends me its aura, which entices and emancipates my perceptions and thoughts.” The Eyes of the Skin (Pallasmaa, 2005, p. 12) The task of the architect is not only to solve rational problems and to satisfy previously established functional or aesthetical needs; in the book The Thinking Hand (Pallasmaa, 2009, p. 109) it is stated that “architecture is always expected to evoke human, experiential and existential values that cannot be prescribed”. Architecture is meant to guide the body through its form with the ability to stimulate mental images full with emotional connotations, already rooted in the individual‟s own perceptions and sensory memories; it will only be moving, if it can achieve this. When people visit a space, emotional baggage is carried along... when architecture is capable of touching the human soul by evoking feelings, emotions and memories brought with the visitors, the experience of space becomes emotional and the architecture thus becomes meaningful. Architecture does not invent meanings, the visitors give meanings to it, through our experience. Sometimes, when listening to a song, it transports the listener back to a specific time and place; when smelling a certain scent, the thought of someone familiar who is now missed, comes to mind; when seeing something, there is a remembrance of a time when that thing was present, not too long ago. This is only possible because there are neural connections in the brain between the senses and memories; memories are stored in brain regions which are associated with the input of the senses, so when they are stimulated, memories come back to mind. This study by Benedetto Sacchetti, as reported in the article Found: A Possible Link Between Emotional Memories and Sensory Triggers (Discover Magazine, 2010), explains why people link certain sounds, smells and sights with specific memories, and thus this explains how then, architecture, through the stimulation of the senses can move people by reminding them of those meaningful past experiences. Here lies the importance of addressing all the senses in architecture, the ability to somehow enhance the experience of space, affect people emotionally and through mere elements of design, embody meaning and provide people with a wide range of emotions, identity and sense of place, by creating a meaningful encounter. Architects have the power, moreover the moral obligation, to achieve this with designs. Of course, designing to trigger memory is not as easy as it sounds, after all, the experience of space depends not only on the elements of design, but also on the user‟s susceptibility, mentality, education, culture and even the mood at the moment; nonetheless, architects, must take advantage of this incredible opportunity to try and provide the users in buildings a truly meaningful, profound, memorable experience.

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Research Strategy There is a concern in the academic sector regarding the search for a proper methodology and a better understanding of research processes concerning design. Research, as well as Design, is an activity conditioned by a great number of factors, which is why there is not a unique method capable of adapting to the different conditions and needs for each particular case. One of the most popular classifications in terms of research concerning design is that explained in the book Research into Art and Design (Frayling, 1993): the “for-about-through” paradigm, or research FOR design, research ABOUT design and research THROUGH design. Research FOR design is that which is carried for the development of a design project, and so design is the final product. In Reseach into Art & Design (Frayling, 1993) the author appoints that in this type of research, the aim is not to achieve communicative knowledge, not in the verbal kind of way although maybe indeed in a visual one. Its aim is actually to make sure that the different conditional factors in design have been properly considered when developing the project. Although this type of research is the most common in the practice of design, it is not scientifically accepted as it is based in readily available knowledge, and because the knowledge involved is not to be published or discussed by the research community. Also in the book, (Frayling, 1993) the author believes that usually, research for design does not possess the quality for doctorate programs, although it is known that this type of research does not aim for that, but for the development of a particular project. Research ABOUT design, is done by disciplines unrelated to design, such as anthropology, history, and psychology among others. According to Research Through Design and Transdisciplinarity: A Tentaive Contribution to the Methodology of Design Research (Findeli, 2008) is that carried about projects of design, its processes, users, meanings and importance for society, business, culture, etcetera; by this means, it does not generate useful knowledge, for it is design itself the subject of investigation in order to generate knowledge for other disciplines. The author of Research into Art & Design (Frayling, 1993) states that this type of research is more common in doctorate programs and is closely related to historical research, research about aesthetics or perception and research about other theoretical perspectives like economical, social, political or cultural, which somehow involve art or design. Reseach THROUGH design, is that which is carried through the development of a design project, in which the different processes and approaches towards it generate knowledge and results. The design itself is both the subject and object of the investigation; one starts off from a design to generate knowledge about it; this is sustained by the understanding that there is no separation between theory and practice of design. The author of Research Through Design and Transdisciplinarity: A Tentaive Contribution to the Methodology of Design Research (Findeli, 2008) states that research through design should be understood as the integration of research for design and research about design. From the first, it takes the interest to improve the practice of design, and from the second, the methodological rigidity; this is the preferred approach by the academic community as it generates useful knowledge for design through rigorous and systematic procedures. The research carried to develop this thesis is that which is done through design; throughout most of the academic year 2010-2011, an architectural project was developed in the design studio: a museum named mudei: museo de la inundación (Museum of the inundation). The project looks at the traces and memories left by the flood that occurred as a result of the hurricane Karl, in Veracruz, México, in September of 2010. The museum aims to show visitors the catastrophic social and material affects of flooding in remembrance of the homes and businesses which once existed in the area or were badly damaged during the event. The “experience spaces” allow visitors to empathize with the

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victim‟s unfortunate situation, while the “museum” part of the project‟s goal is to educate those most vulnerable to flooding in the future. In developing this project, it was important to understand how the building would affect people emotionally, whether they had experienced the flood from the inside, being victims, or from the outside, as spectators. The design approach for the project meant to focus more on the invisible effects of space, the experience made possible, through the creation of provocative experiences. In this thesis, this matter is tackled as it is tried to understand how buildings affect people emotionally and how architecture can through mere elements of design embody meaning and reinforce people‟s identity and sense of place. In order to do this, this work is backed up by the design project done during the academic year 2010-2011, for it was a way to explore these things in a more practical way; doing/designing is helpful because one is able to find things out on its own, one becomes more involved, and gets the hands dirty so to speak. Drawings, plans and sections are included to describe and illustrate the design process and the outcomes of the project, as well as the findings in terms of achieving what the thesis explores. Besides the design work, one of the first exercises carried for the purpose of this thesis, consisted in asking different kinds of people, non architects and architects, what their definition for architecture was, in order to prove a point later addressed in the introduction: the misconception of architecture. The images of this people were provided by each one of them, who happily agreed to take part in the exercise. Also, definitions of architecture from some famous architects were taken from different internet sources, as were their pictures, in contrast to the definitions provided by others previously questioned. Due to the nature of the topic of this thesis, the methodological approach needed to be more experiential, rather than bibliographical, but this does not mean that bibliographical sources were not used to further understand what was obtained from the development of the project; several books and online articles were consulted in order to deepen into the subjects of the experience, phenomenology, perception, memory, and the senses in architecture. Some of these topics are broadly exemplified by images of architectural projects that the author of this thesis is familiar with, and others which were appointed by people familiar with them. Certain images where taken by the author who personally experienced some of the buildings, others were provided by people who did that as well, and the remaining images were taken from different internet sources. It was noted though, that in order to understand how buildings affect people, beyond reading about it, it was necessary to experience this personally, by going to a building and experiencing it, really taking the time to do it: to see it, to touch it, to hear it, to smell it and to taste it, to try to understand what the intention behind it was, or to find what it caused to this particular visitor. Having read a lot about how space is experienced, this exercise was very successful in terms of understanding the place chosen, and many things were found out which strengthen and support this work. The exercise and findings were recorded as notes which are presented as an appendix, at the end of this thesis. This exercise inspired yet another one of the same species, this time regarding the architectural project originally developed; a fictional narrative describing the experience in the museum of the inundation, which is now informed not only by the design, but also by the bibliographical sources and other personal experiences; accompanied by old drawings developed throughout the year, they intend to visually illustrate as much as it is possible, the experience of the museum of the inundation.

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Methodology mudei: museo de la inundación (museum of the inundation) Location and site The project is located in the city of Veracruz, in the state of the same name, on the south east coast of México, in North America.

Fig. 56-58. México in North America, Source: http://dailycoloringpages.com/map-coloring-pages/, February 2011; Veracruz in México, Source: http://badmintonplaya.com/modules/com_sobi2/?mapa-de-mexico-estados-1956, February 2011; and Veracruz in Veracruz, Source: http://www.coneval.gob.mx/cmsconeval/rw/resource/coneval/entidades/4681.jpg, February 2011; all images edited by Griselda Arteaga Trejo on Photshop, February 2011.

The site for the project is the fraccionamiento Floresta (Floresta neighborhood), a residential area mostly, that continuously suffers from flooding during rainy season due to the fact that it was built over one a half meters below sea level, and is surrounded by higher grounds whose rainwater slips down creating a “Veracruzan Venice” every time it rains.

Fig. 59-60. Aerial view of the city of Veracruz, framing the Floresta neighborhood, Source: google maps, February 2011; aerial view of the inundated floresta neighborhood, Source: http://www.jornada.unam.mx/2010/09/24/estados/033n1est, February 2011; all images edited by Griselda Arteaga Trejo on Photoshop, February 2011.

This matter was only worsen by the aftermath of Hurricane Karl in September of 2010, when everything in the neighborhood ended up under water, leaving people trapped in the roofs of their homes, having to be rescued in boats by members of the federal army, without mentioning the great material loses; this situation made the then state governor make the decision to evacuate everyone living in the neighborhood, to transform it into a lagoon park, where people could go for recreational purposes.

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Fig. 61. Water levels inside the neighborhood.

Fig. 62. The market at the Floresta neighborhood.

Fig. 63. Cars and houses underwater.

Fig. 64. People trapped on the roofs.

Fig. 65. The Church at the Floresta neighborhood.

Fig. 66. Rescue boats from the federal army in action.

Fig. 67. The neighbourhood is lost in this body of water.

Fig. 68. The interior of a home in the neighborhood.

Fig. 61-68. Images of the neighborhood underwater after the pass of Hurricane Karl in September of 2010; Sources (first line): xeu.com.mx, September 2010; (second line)Santiago B.G, September 2010; all images and photos edited by Griselda Arteaga Trejo on Photoshop and www.picnik.com, February 2011.

People living in the area did not agree with this decision; even thought the government had a plan to transfer everyone to a safer place in the outskirts of the city and compensate them for their land within the neighborhood, they did not want to leave. People are attached to this site; they have created memories and did not feel thrilled about the idea of erasing everything off the area as though as it had never existed. For several reasons, mainly economical, but also social and political, a project like this could never happen in this place, but this architectural project was developed under the assumption that it was possible. Masterplan The first stage of the project was to develop a masterplan, but there were many factors to consider: the governor wanted the whole place to be a recreational area, but inhabitants of the place did not want to leave. The reason why the governor was opposed to building in the area was the continuous flooding, rainy season or not. Having to deal with issues concerning this was time consuming and expensive, so instead of finding a solution for the problem, it was easier to not having to worry by not building there. Of course, people would not accept this, as most of them had lived in the neighborhood all their lives, and were used to having everything at the ready, given the great location of the site. In order to comply with everyone‟s needs, a middle ground was found in sectioning the area into zones where different uses would have their own space to develop: housing, commercial, recreational (parks and lagoons) and cultural (the museum). Looking after people‟s connections and memories of the site, the new masterplan tried to keep certain things; the zoning of the new neighborhood was done by selecting areas divided by different existing traffic routes inside the area, based on their location, and use within the neighborhood, to chose the best routes to move around. Also in consideration to assigning a use for each zone, was an environmental study regarding wind and natural light, and also factors such as noise and connectivity to the city.

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Fig. 69. The site plan with the zones divided by the north, south, east and west avenues which circulate around the neighbourhood. Images drawn by Griselda Arteaga Trejo on AutoCAD, and by hand, March 2011; edited by Griselda Arteaga Trejo on Photoshop, May 2011.

Fig. 70. The site plan with the zones divided by the most circulated routes around the neighbourhood. Images drawn by Griselda Arteaga Trejo on AutoCAD, and by hand, March 2011; edited by Griselda Arteaga Trejo on Photoshop, May 2011.

Fig. 71. The site plan with the zones divided by the different access routes to the neighbourhood. Images drawn by Griselda Arteaga Trejo on AutoCAD, and by hand, March 2011; edited by Griselda Arteaga Trejo on Photoshop, May 2011.

Fig. 72. The site plan with the zones divided by the combination of all the previous zonings. Images drawn by Griselda Arteaga Trejo on AutoCAD, and by hand, March 2011; edited by Griselda Arteaga Trejo on Photoshop, May 2011.

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Fig. 73. Environmental study of sunlight and wind, plus noise pollution; Fig. 74. Final zoning strategy considering the environmental study; All Images drawn by Griselda Arteaga Trejo on AutoCAD, March 2011; edited by Griselda Arteaga Trejo on Photoshop, May 2011.

Flooding still needed to be fought and the best solution was found in the decision to build above flood levels, in order to prevent water from reaching buildings and causing even more material loses; so, each zone would be elevated and the site would look like a manmade landscape. Also, the creation of the main lagoon, and channels that would go around the neighborhood would help in terms of containing water, both sliding from higher grounds around, and that overflowed from the Canal de la Zamorana (Channel of the Zamorana) in the southern boundary of the site, in order to prevent it from reaching buildings, even at their new height.

Fig. 75-77. Site study model which shows the different conditions of flooding on site, with the elevated manmade landscape: site on a regular basis, site during a normal flood, and site during a big flood; model made by Griselda Arteaga Trejo, March 2011; photos taken by Griselda Arteaga Trejo, March 2011; photos edited by Griselda Arteaga Trejo on Photoshop, May 2011.

Museum The original idea of the museum, was to showcase the disaster of the Hurricane in the particular area, through a series of exhibitions that would display images and sets of destruction in the most literal way possible, as a way to show people what had happened. The museum was to be located waterside, because of its relation to water and the inundation; different explorations in terms of form and function were carried, trying to tie the building to its context and reason for development.

Fig. 78. First model

Fig. 79. Second model

Fig. 80. Third model.

Fig. 81. Fourth model, to be developed further.

Fig. 78-81. Different study models placed on the site model, made by Griselda Arteaga Trejo, March 2011; photos taken by Griselda Arteaga Trejo, March 2011; photos edited by Griselda Arteaga Trejo on Photoshop, May 2011 and www.picnik.com, August 2011.

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The form chosen to develop was a typical double pitch roof house, tipped on its side and partly underwater, which basically was a very literal representation of what had happened in the area, reason why this form was given up on, as it became doubtful that people would want such a reminder of the disaster they had already experienced.

Fig. 82. Conceptual sketches.

Fig. 84. Study model view from the south east.

Fig. 83. Study model showing access to the building.

Fig. 85. Study model view from the south.

Fig. 81-84. Sketches of the form initially chosen for the building and further development of the conceptual model addressing the chosen form, made by Griselda Arteaga Trejo, March 2011; photos taken by Griselda Arteaga Trejo, March 2011; photos edited by Griselda Arteaga Trejo on Photoshop, May 2011 and www.picnik.com, August 2011.

Reflecting on this matter, it was realized that the project had not been approached in the best way, and so it went back to the beginning in terms of questioning what was the purpose of the museum, how it could be connected to the place where it would stand, how it would remind people of what had happened there, how it would make people feel to visit it, etcetera.

Fig. 86. Brainstorming notes (in English and Spanish) about the project, written by Griselda Arteaga Trejo, March 2011; scanned by Griselda Arteaga Trejo, May 2011; edited by Griselda Arteaga Trejo on Photoshop, May 2011 and www.picnik.com, August 2011.

It was then when it became clear that the purpose of the project was, as it has been previously described in this chapter, to “allow visitors to empathize with the victim‟s unfortunate situation” and to “educate those most vulnerable to flooding in the future”. This project was focused on developing the “experience spaces”, where people would be able to walk in the shoes, so to speak, of those affected by the flood, but the question was “how?” The first ideas that came to mind were evidently the obvious, the literal kind which involved people actually walking inside a flooded house within the museum, where they

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would get wet, stumble upon things and would need to be rescued by a boat that would get them to safety, aka another part of the museum; another idea involved a walking tour, between two themed rooms at the time, where one would be able to see the before and after of the flood by looking from one room to the other. For sure these two experiences would have caused an impression on the visitors of the museum, and they certainly would have made them feel what the actual victims felt, but it makes one wonder if going through all that trouble is really necessary to empathize with the situation, and the answer is no. It was pointed to the author of this project, that sometimes, one does not need to be so literal to explain certain things, and so the real work began. It was then questioned “how does someone who experiences this, feel?”, and so, research went back to the beginning of the year, when four people who had experienced the flood, from the inside and outside, were asked to narrate their experience. (This narratives are available to read in the appendix at the end of this thesis.) Fear, insecurity, uncertainty, helplessness, desperation, sadness, preoccupation. Safety versus danger. Coldness. Humidity. Darkness versus light. Bad smells. Dirtiness. Disgust. Stains. Watermarks. Inability to communicate. These words are taken from the above mentioned narratives; some of them are literal, others are implied, but in the end, they all refer to the same thing, the experience of the flood. Before actually deciding how these ideas/concepts would be represented or provoked in the spaces of the museum, a program needed to be established; for once, there would be the separation between the experience spaces and the museum educational area, and it was decided that these two different areas would not be connected to each other. For some people, re-living the traumatic experience would not be as pleasant, and so there was no point in having them going through that to get to the educational area.

Fig. 87-88. Schematic diagrams of circulation for the different areas of the museum; drawn by Griselda Arteaga Trejo on AutoCAD and edited on Photoshop, May 2011.

For the experience spaces, a route through the museum was designed, based on the already explored main traffic routes of the neighborhood; in a smaller scale, by going around the museum, one would be going around the old neighborhood, and at the end of each route, one would enter a experience space.

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Fig. 90. Study model of the site (real scale of the museum circulation).

Fig. 91. Study model of the museum building showing the circulation.

Fig. 89-91. From the original circulation in the old neighborhood, to the zoning of the site and circulation in the museum; fig. 88. Drawn by Griselda Arteaga Trejo on AutoCAD, March 2011; study models of site and building made by Griselda Arteaga Trejo, March 2011; photos taken by Griselda Arteaga Trejo, March 2011; photos edited by Griselda Arteaga Trejo on www.picnik.com, August 2011.

All the experience spaces consist of a room of the same size, to which visitors arrive in after walking either up or downstairs through a tunnel like hallway; but each experience space is different as each is meant to evoke a different moment of the inundation. What moment each space would evoke depended on location in the museum, or its location on the route. The routes point to different locations within the new neighborhood: the lagoon, the city and the neighborhood itself, and they take the visitors around the building, in four different levels.

Fig. 92. Conceptual sketch of the route and experience spaces.

Fig. 93. Conceptual sketch of the experience spaces.

Fig. 92-94. Conceptual sketches drawn by Griselda Arteaga Trejo, April 2011; photos taken by Griselda Arteaga Trejo, August 2011; photos edited by Griselda Arteaga Trejo on www.picnik.com, August 2011; image drawn by Griselda Arteaga Trejo on AutoCAD and edited on Photoshop, May 2011.

The first experience space on the route is below ground, on level -2, and it is one of the spaces that are pointed towards the lagoon; for this reason, the space is conceived as one who was completely underwater during the flood. Swollen and rotting timber floors, walls and ceiling clad this space to show the damage caused by the flood. The lighting is low and being underground makes the space cold and humid, and allows for no cell phone signal. In here, it is not possible to communicate with the outside world. One is trapped in a dark, smelly, scary place. The second experience space is also located underground, on level -1; this space is the other one pointed towards the lagoon, and it is purposely unavailable to access, as it is still flooded. Going down the stairway hallway into this space, the smell of stagnant water strikes the ambiance and the sound of things floating stops one from moving forward. Curiosity is tempted as the door is closed and one can only see water coming outside of the room. One may dare to enter if is not afraid to get their feet wet. The third experience space can be thought of as the safest place in the building, for it is on the 1st level, where water did not reach, and pointed towards the city. This space is sort of a metaphor for the roof of a house during the flood: as the door is closed in this space one is left alone with no sight of the outside world, except for the sky as this space is open; only

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sounds communicate what goes on as the city life continues, and even though one knows it is safe to be there, it can only wait to be rescued, or in this case, be let out. The last experience space is at ground floor level, and it points towards the new neighborhood; a homage, so to speak, to the houses in the old neighborhood, that were damaged this way: it is meant to be a space that was flooded and it has now recovered. The smell of all sorts of cleaning and disinfectant supplies is impregnated in the walls, which make watermarks all around the room, showing how high the flood level rose, seem to be engraved, as all the cleaning in the world would not erase them. This is the only space with a window, a connection to the outside world, which overlooks at the new neighborhood now, but remembers the place where the old one was.

Fig. 94. Experience Space 1

Fig.95. Experience Space 2

Fig. 96. Experience Space 3

Fig. 97. Experience Space 4

Fig. 94-97. All images drawn by Griselda Arteaga Trejo on Sketchup, May 2011; all images edited by Griselda Arteaga Trejo on Photoshop, May 2011, and www.picnik.com, August 2011.

All the above mentioned ideas/concepts taken from the narratives of the victims of the flood, were very helpful in terms of making decisions for the interior of the experience spaces; trying to achieve an ambiance of fear, insecurity and desperation, was not exactly the aim, as the purpose of the spaces is not to torture visitors; spaces can have the same impact without it being a stressful experience. Going from a very big, lit, open space, into a small, dark, enclosed hallway, to get into a smaller, darker, colder, smelly room, where sounds or the lack of them accompany one in the experience, should be enough to transmit something. Although the thematic of the museum is serious, it is not meant to be a place to leave with a bad feeling; it is true that the disaster caused by Hurricane Karl was a downer, but the thing about Mexican culture, moreover, Mexican people, is that they have it in them to find the positive and the fun side of every situation, no matter how tragic. Embracing this positive spirit, the museum is decorated with witty sayings on the walls, allusive to the inundation; lifesavers are placed on hallways where fire extinguishers should go, as it is more likely to have a flood than a fire; boats hang from the ceiling of the museum, like those on the sides of cruise ships in case of an emergency; inflatable crocodiles float in the purposely flooded void at the center of the museum, around which the route goes from one space to the other, as a parody of the news of crocodiles living in the old neighborhood during the flood. All these things, which are allusive to the culture and history of Veracruz and the site, connect the project to its location and help people relate to it, and get a smile out of them.

Fig. 98. The phrase on the wall is a line from „La Bamba‟.

Fig. 100. Boats hang from the ceiling in case of emergency.

Fig. 99. The lifesaver replaces the fire extinguisher.

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Fig. 101. Beware of the inflatable crocodiles.

Fig. 98-101. All images drawn by Griselda Arteaga Trejo on AutoCAD, May 2011; all images edited by Griselda Arteaga Trejo on Photoshop, May 2011, and www.picnik.com, August 2011.

By developing this project, all the previously asked questions found their answers. The new museum building is connected to the place where it stands by alluding at its history and memories of what happened in it; it reminds people of what happened by letting them experience in their own skin, the sounds, smells and sights of the event, although only to a certain extent; visiting the museum, the idea is for people to be more sympathetic of those who had to live through it, to be supportive of them, and to be grateful for not having to had experienced it for real.

The experience This narrative describes the experience as it is intended by the author of the project and the thesis, once again under the assumption that the project is developed. It starts by spotting the museum away, and talks the reader through the route of the “experience spaces”, providing not only an accurate description of the space, but also commenting on the feelings and thoughts inspired or evoked by the experience. Walking down the east avenue of the new neighborhood, one can spot the building as soon as one turns right, not because it is tall or too big, but because there is nothing blocking the view towards it, as it stands tall on a manmade hill of about three meters high. After walking along the manmade lagoon, I reach the stairs that lead up to the plaza where the entrance to the building lays, surrounded by gardens. It is not something spectacular, a square shaped building of two stories, made of concrete, nothing special. The entrance is like a tunnel, also of concrete, and it goes all the way in through a glass façade. On the tunnel entrance there is something that reads “enter at your own risk”, is that supposed to be a threat? Across the glass façade, exiting the concrete tunnel, I find myself in a huge lobby like area: the ceiling is as high as the building and there is a lot of light entering through it. It actually feels kind of warm. There is an unidentified scent in the air, but it is not very strong, it might be water though, for there is a distant sound of it like bubbling somewhere inside, plus there is the lagoon right next door. On the left, there is a big sign on the wall that reads “information”, people there suggest visitors take the “experience route” before heading upstairs to the actual museum. Instructions are followed. At the end of the lobby, there is a handrail that keeps one from falling over, not that it looks risky as there is water below in some kind of pool, it is like the water from the lagoon. It confirms the source and reason for the unidentified scent. There are two boats hanging from the ceiling, a rescue boat and an inflatable banana on the water, makes one wonder why. Maybe they are part of the exhibition, like a thrill ride on the water below. Below. The building goes below ground. I would have never guessed that from the views of it outside. Turning left, the experience part begins, as it says so on the wall: “experience the flood”, hopefully the water from below will not rise to flood the so called experience spaces. If that was part of the experience, people should be aware of this. Going down a set of stairs, one enters inside some kind of tunnel to find more stairs; it gets darker as I go further down, and it feels like a long way from where I entered the museum. It also feels colder and there is a funny smell. Finally I reach a door. It is swollen, it is stuck, it is hard to open it, but it gives in. There is nothing inside the space, though, it is a dead end. The smell comes from inside the space without a doubt, it is humidity. I stand still for a while examining the room around me. The walls and the floor look terrible, and they feel wet. It looks as though this space was underwater, which would explain the smell and the looks of it. I wish there was a window in here, but then again, this is underground. Being here, I cannot hear anything, silence is palpable, and it is eerie; makes me feel alone and scared to be here. It is cold and dark, not a very comfortable space to be in, specially cause of the smell of wet timber and humidity. Maybe it is time to move on to the next space.

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Apparently one is supposed to go back the same way one got in, which makes navigation of the museum easy but unnecessarily long at the same time. Coming back up, I find myself overlooking at the water again. The route goes around an empty space in the middle of the building, which has water at the bottom of it. It seems as though as it has gone up since I last saw it, which is worrying. It is a good thing that that there are lifesavers on the walls to use “in case of emergency”, funny stuff. No fire extinguishers, only lifesavers. When one is in a place surrounded by water, fire is probably the last thing in mind. I spot the funniest thing: “beware of the crocodiles” is written on the wall below the deck where one is supposed to walk as part of the route, and down in the water, I see three inflatable crocodiles floating close to the rescue boat and the inflatable banana. This is definitely to make fun of the fake, dramatic news of crocodiles escaping from a natural reservoir during the hurricane and temporarily living in the old neighbourhood during the flood. Good stuff. The route goes upstairs again, around the space surrounding the water, and then, there is another left turn. It is back into the tunnel like space and downstairs once more, but this stairs are not as long as the previous ones. As I go down, the stink of stagnant water hits me and it only gets worse as I go further down, then it is visible why: there is water coming out of the room, the space is flooded. As I stand there reasoning what is going on and why the route guides you to a place that is not accessible, I hear something, it is as though something keeps hitting the door on the other side, but because it is closed, there is no way to know what it is or if there is indeed something or God forbid, someone in there. That is both creepy and scary. This must be like what houses were like during the flood. The thought of walking down the stairs of my home to find water coming out of the rooms and my things floating around is unbearable. Having to walk amongst the remains of my belongings in that filthy water with that hideous smell gives me the creeps. I feel for those who had to do it, for cannot imagine putting up with it, and cannot bare to stay in this space any longer. Moving forward. For once, I experience a sense of relief as I emerge back up, around the water, in a big, open, lit, warm space that does not smell like rubbish. It was suffocating down there. Keep walking around the water and turn left again. Apparently, the way into all of the spaces is through these tunnels, but this time the stairs go up, which will be a nice change. At the top of the stairs, another closed door. As it is opened, the small space that precedes it is filled with light, for it is an open space, to the sky anyway. There is nothing inside, just an empty room, like the one before, but this one is different: there is no funny smell and the walls and floor look decent enough. Wait, there is a smell, the smell of timber of the walls and the smell and feel of fresh air, unlike that inside the building. It is a relief to be here. I had not reflected upon the fact that within the building, the only sounds I could hear were of the water, or the creepy sound of things banging the door. And here, I can actually listen to the traffic sounds and people passing by, it makes me feel safe to know that the city is out there, behind the walls, even if I cannot see it, and that I am not alone in the world. Heading back down, following the route walking around the water I find myself in front of a big wall and there is only a left turn to go. The route will probably end in the next space as it has already gone around the water, and the building. Another tunnel, but it does not have stairs, only a door at the end. As I open the door, a strong scent hits my nose: it smells very clean, reminds me of the cleaning products aisle in a supermarket. There is a window at the end of the room, and it looks at the new neighbourhood. The window implies a connection to the outside world, although a different one to that in the other space, for this one is visual. I turn around and see there are lines around the room, all at the same height, they are watermarks. I go around the room touching them with my hand. Standing next to them, against the wall, they are as high as my chest. I rub my fist against them, but it does not make them go away. Seems as though as people have tried to erase them unsuccessfully, hence the smell of cleaning products. Below the lines, I touch the walls that look in poor condition, but not nearly as bad as the walls in the first space, these walls are not wet, just stained; they seem to have been taken care of. Over the lines, the walls seem fine, as

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though as water did not reach them, they feel even and like those in the previous space, the one up the stairs. I realize standing there, watermarks at the height of my chest, that the houses in the old neighbourhood had water up this height, and all I can think is wow. As I leave the space, I cannot help but feel compassion; moreover because I know people who were living in the neighbourhood when the flood happened, and it makes me think of what they had to go through to get their lives back: they had to see their homes underwater, to navigate amongst the remain of their things in filthy water, and after the water was gone, to clean exhaustively their homes to be able to move back in, with the constant reminder of what had happened, thanks to the remaining watermarks. It sure makes one want to help, and also grateful for not having had to suffer through the real experience of the flood.

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Discussion/Analysis After having developed the architectural project, more recently having carried out a bibliographical research regarding the topics of experience of space, phenomenology, perception, memory, and the senses in architecture, and moreover, after conducting the exercise in which space is explored in a rather unorthodox manner, by trying to separate the senses to appreciate how important they are individually in the experience of space (see appendix for exercise and conclusions), it can be said that what was applied in the architectural project was not entirely wrong. The eyes are not given more importance than the other senses; the experience of the museum is multisensory as it uses sounds, smells and different materials to address all the senses, evoke feelings and create a memorable experience, where the visitors will feel connected to the victims of the flood, and to the local history of the site, the old Fraccionamiento Floresta. The aesthetic aspect of the project is definitely not the main concern, in fact, as described in the narrative of the space, the form of the building is nothing special. The idea of the cube manifests itself as a preconception of interior space; looking at the building people will expect a certain configuration inside, but entering it will be discovered that some things are not really as they seem. An example of it is the water in the void, which surprises the visitor as makes one realize the fact that the building goes underground and it does not only have the two levels people can see from outside. The transition from the main space, which is the area around the water, described as “a big, open, lit, warm space that does not smell like rubbish”, to each experience space, happens through the “tunnels” with stairs that go either up or down. The tunnels, in a way, start preparing the visitor for what is coming, as they start introducing scents in a subtle way, and their appearance shifts as visitors approach the rooms in the end. The ambiance changes, as light and temperature shift, because of the location of the room, but also for the purpose of each space. In the different experience spaces, the eyes can see the different levels of damage in the cladding of the walls, floors and ceilings; the nose can smell the humidity and wet timber, the stagnant water, the clean air and nature, and the cleaning products; the hand can touch the wet timber, the body can feel the suffocating atmosphere, the warmth of the sun and the fresh air, and the fist can try to erase the watermarks on the walls; the ears can hear silence, the banging of floating objects on the door, the noise of the city and the curiosity of passersby. All the senses are addressed and stimulated. The images seen, scents smelled, sounds heard, and things touched, stir and evoke feelings and memories. For someone who lived through it, the stimuli will most likely bring them back to that moment; for someone who has never experienced a situation like it, the stimuli will give them a broad idea of what it must have felt like to be there, and thus, it will make the person feel sympathetic. The mudei: museo de la inundación (museum of the inundation) belongs in the place where the inundation happened; it would not have the strong meaning and connotation it has if it were placed somewhere else, and people would not feel identified with it. It is not expected that by touring the museum, people will understand that they are walking around the old neighborhood in a smaller scale; just as it is not expected for them to understand that the decisions of the zoning of the area were based on the traffic routes of the old neighborhood. This does not mean thought that doing that is not a way to integrate the project to its location. In trying to do that as well, moreover, in trying to integrate local popular culture, lyrics from “La Bamba”, a Mexican Folk song originally from Veracruz, are written on the wall, but they are actually allusive to the slogan of a campaign started by young people, to help those in need living in the neighbourhood; another attempt at this was the use of inflatable

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crocodiles which mock the news from sensationalist local newspaper Notiver, which announced that four hundred crocodiles had escaped and were spotted around the neighbourhood during the flood. A way in which the project could be improved, beyond the theme of functionality in the experience route, is in the incorporation of interactive experiences between the users and the building; for example, Hayley Anderson, a student at the University of Sheffield in 2009, designed a project in which flooding was a problem, but it was embraced and incorporated as part of the use of the building, as she involved the users in the cleaning process, as part of their own recovery process. This way, the users interact with the building and this experience is more meaningful as they are more involved. Other than that, the project overall seems to come across as successful in terms of providing the users with a memorable experience, or at least a multisensory one, and in making them feel part of something bigger; if a visually impaired person was to visit the museum, this person would be able to experience the flood through the sounds, the smells and the ambiance in the spaces; in the same way, a hearing impaired person could do the same through sight, smells and touch, and so on; every visitor is able to feel as part of something for they have now participated in the experience. According to the definition of architecture, built at the beginning of this thesis, by the fusion of all the definitions previously acquired: “Architecture is about designing beautiful and functional spaces for people...” whether the building is beautiful or not, that is not for the architect to judge, as beauty is subjective, but as it has already been said, it was not the aim for it to be beautiful; as for functional, that may be the weaker side of the project, having to go in and out of the spaces through the same way, in what the narrative describes as easy navigation yet unnecessarily long. “...to be understood, architecture needs to be experienced...” so much for that, as in order to experience this building it would have to be built first, but here is to hoping the narrative and the images can help the readers of this thesis better understand the spaces designed. “...to work in the context where it is conceived, to incorporate the local popular culture...” the reasons why the project is located where it is and how it manages to incorporate itself to the context is thoroughly explained along this thesis, but if the reader fails to understand the humour in certain decisions, then the project is successful in the incorporation of local popular culture. “...to manipulate and take advantage of the elements, both natural and architectural, to its favour...” in terms of space and ambiance manipulation, it is fair to say that the use of materiality in the building aids to create certain atmospheres, and thus it is believed that the building does a fair job in doing so, but then again, that would be for the readers to judge. “...and most importantly, it needs to be able to transmit emotion and be life enhancing...” if by transmitting emotion, the project automatically becomes life enhancing, then the author shall let the project speak by itself.

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Conclusion What is architecture? Is Who is it for? How is it understood? How is it experienced? How are the senses involved in the experience of architecture? How is it related to its context? Why the need to relate it to its context? How does it transmit emotion? What makes a memorable experience in architecture? These are some of the questions which find an answer along this thesis. In a personal exercise, a definition of architecture is established by the author in order to make a point regarding something discussed in the Introduction of this work, the misconception of architecture. This misconception is part of what has become a problem with the practice of the craft, as the emphasis in vision by architects has neglected the other senses in the experience of architecture, which has only got worse due to the lack of materiality in contemporary building materials, product of an industrialized world. Although it is not the aim of the thesis to find a solution for this situation, it sort of works out that way as this work is trying to understand how architecture is able to transmit emotion to people, which is discussed in the Literary Review, where the senses of hearing, smelling, tasting and touching are given as much importance as the sense of sight, and it is explained how a work of architecture can provide people with a sense of place, and the roll of memory in the experience of architecture. The research, which happened by design, is thoroughly explained in the chapter following the Literary Review; and immediately afterwards, the methodology of the architectural project is described and explained using the drawings and a fictional narrative of the space, which in the end help to answer the questions this thesis is asking. In the chapter, Discussion and Analysis, it is reviewed how right or wrong the findings of the research by design and the product, the architectural project, are in terms of achieving that which the established definition of architecture comprehends, and how successful the project is in terms of actually doing what the thesis is trying to understand; finally, it is reckoned how the project could have been better and what could be done to improve it. The importance of this research lies within the fact that architecture is becoming more a sculptural work of art, rather than a place for people to inhabit, live their lives and share memorable experiences. As architecture built lacks means to provoke experiences, it becomes empty and does not help people relate and get a sense of belonging. By understanding, how memorable experiences can be achieved through architecture, more architects will aim for that in their designs, and architecture will be more than just “beautiful buildings”. It is also important to remember that architecture is the only art form which people can inhabit, which speaks to its users and makes them feel part of something; it is the atmosphere, given by the light, resonance of the space, smells and textures of the materials, which make architecture a sensory experience and it is what these things are capable of evoking in people, which make architecture a sensitive experience. Further research should be carried to explore innovative ways in which architecture engages its users, whether it is through the stimulation of the senses, or through human participation in creating the environment within buildings. Only when architects become more aware of the power of the stimulation of all the senses, stop caring so much for the appearance, and begin to worry about how their work will make people feel, architecture will become more humane, it will become a memorable experience. “If we contemplate architecture in a carping spirit with a know it all attitude, it will shut itself up and have nothing to say to us. But if we ourselves are open to impressions and sympathetically inclined, it will open up and reveal its true essence.“ Experiencing Architecture (Rasmusen, 1989, p. 237)

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Appendix Isolating The Senses: Another Personal Exercise When entering a space people are experiencing it with all the senses, but when asked to describe it, most of the time they will describe it by what it is seen, more than by what it is smelled, heard, touched or tasted; but this does not mean they are not perceiving things with the other senses, cause the thing is, the senses cannot be turned off. The experience of space through some of the senses happens unconsciously, but when one really thinks about it, there are so many things people perceive that go beyond what it is seen and more importantly that are a crucial part of the experience. In order to demonstrate this, I did a little exercise; I went to a familiar place, one of the studios in the school of architecture, and tried to describe my experience of the space using ONLY one sense at the time. Certain statements are highlighted as they were found interesting for particular reasons, and immediately afterwards it is explained why. In the end, everything is tied up in a small conclusion. I could not start by seeing the place, as doing so would have ruined the other senses for me because I would have already known how big the space was, what it was used for and what things I could find in there; so I decided to start by the sense of hearing, following by smell/taste, touch and finally, sight. Hearing the architecture studio/Tuesday July 19, 2011/Around 12:00 hrs. “Sitting in one of the chairs around the working tables in the studio, I close my eyes and pinch my nose trying to block my senses of sight and smell, I do not intend to touch anything while sitting here, and I certainly do not intend to taste anything as well. I try to concentrate only on the sounds produced both inside and outside this space... The ambiance is calmed, the silence is palpable in the room; it feels as though as I am by myself even though I know I am not, as I saw a few people on my way inside: there are about four other people studying in the room next to mine, but I cannot hear them, they work quietly. After a little while just sitting here, suddenly I hear steps approaching me or at least the space where I am sitting, but they stop and now I hear water running and a recipient filling with it; I am not sure whether they are washing something or just pouring a drink, perhaps the latter. Now I hear a microwave closing and working, which makes me think they were indeed pouring a drink as they are now heating food. Once it is ready I hear the steps fade away and someone pulling a chair and after a few seconds, they are chewing. The sounds we hear in space can give us an idea of what goes on in it, in this particular case, the sound of the microwave makes me think of food. As soon as I hear, I want to smell, and then I start feeling really hungry. The fact that someone is preparing food to eat, reminds me of the time of the day, it is lunch time and the fact that there is a microwave in the room, gives me an idea of where I might be, a kitchen, even though I know I am not in one. I hear the wind blowing and birds, which I could not hear before, so maybe someone just opened a window; but now I also hear a loud noise I don not recognize, some kind of machine is being used outside. Someone is clicking a lot and music begins to play, I think they did that to block the noise from the machine, which is working because I cannot hear it as loud anymore. It is a song I recognize, it is in English, and then I hear Chinese girls speaking, maybe they are talking about the music but I cannot tell because I do not speak Chinese.” It is not only the sound of the wind blowing or the birds that make me think someone opened a window, I can actually feel the wind coming inside and it is giving me chills, making me cold. There is no way to not be aware of the change of the temperature in the space, once it happens. As soon as I hear, I can feel.

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Smelling/Tuesday July 19, 2011/Around 13:00 hrs. “While this space is meant to be experienced only by the sense of smell, I do need to walk around it and to do so I need to be able to see and touch things at some points, though the description will be only based on what I smell. Coming from outside the building, the garden to be precise, the smells I have gone through to get here are very different: starting with the smell of nature, grass, earth, even flowers and fresh air; then some kind of scent like that in an elevator, I believe it is the carpet’s smell; I have to go upstairs to get to the studio space and the first smell I get is paint. When smelling nature, I can immediately tell I am in an open space, it is not only the smell, but the ambiance, the air, the temperature. The feeling of being in a big space, which changes when moving towards the building, and the change of smell which announces the change of location, also changes the way I feel, now I do not feel as free as before. I walk around the space touching here and there in order not to trip or hit myself with something, as I have my eyes closed at this point. I can smell food and plastic, maybe it is food in containers, and it is making me hungry, even more. I keep moving and the next smell I sense is soap and immediately afterwards a very strong scent of coffee, which makes me think of this really popular restaurant back home in Mexico where my dad has breakfast with his lifelong friends every saturday morning, and so it reminds me of home. The smell of food intensifies and I get the impression that someone might be eating very close to me. I am now starving and craving something to eat. I find very interesting how the scent of strong coffee has the power to remind me of my home, as it is a smell I relate to my father, an addict to coffee. The smell of food, no matter how artificial also reminds me of home cooked meals by my mother and I cannot help but smile at these thoughts and feel very nostalgic; that is without mentioning the fact that the smell of food also makes me savour it in my mouth. As soon as I smell, I remember, and I want to taste. The next smell I identify is once again natural, a plant, but it is not very strong, could come from outside or maybe a small plant in the room. I keep moving around and smell cardboard, maybe a box; I can also smell a pencil and dust which makes me sneeze. Does not seem to be a very clean place. Then really strong glue and wood, and more of the same model making materials.” Clearly the smells I identify although in opposite sides of the space correspond to the activities taking place in it, cooking and working, which is rather confusing; on one side there are all those food and drink smells while on the other, the artsy materials; if I had never been to this place before I would not know where I was standing, whether a kitchen or a workshop, for these two things do not usually go together. It may seem quite strange to put a kitchen by an architecture studio, but maybe it was completely intentional. Students do spend a lot of time in the studios, more so than they do at home, and in a way, having the familiar smells of food and coffee might be a way to make them feel closer to home and comfortable enough to work in the studio for longer periods of time. Touching/Tuesday July 19, 2011/Around 15:00 hrs. “First of all I want to get an idea of the shape and size of the space, as the smells and sounds did not provide that information for me; so I try to go around it feeling it with my hands, but it is hard as there are many things adjacent to the walls and blocking my way. I know it is a big space and it is not regular, it has more than four walls and a big entrance with no door. To measure the height, I stand and lift my arms up, but I cannot feel anything above me, so I try jumping without luck; I then decide to stand on something and repeat the process, this time reaching the ceiling with my fingers when jumping, so I decide the space is not very high.

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As I run my hands on the walls I feel different surfaces, bricks without a finish as they feel quite rough, tiles, then bricks with a finish, I am thinking paint. I find what I think is a window, from the level difference on the wall, the frame and the temperature of the surface, which is cooler than the previous one. Another wall felt different, as though as it had things stuck to it, like little bumps I could remove and some I could not; bits of tape stuck to my hand when caressing the wall and I could feel pieces of paper stuck to it in some parts. What is so interesting about this experience is how when touching things I immediately felt the urge to experience them with other senses, I felt the different textures of the wall and window, the different temperatures and instantly tapped on them attempting to hear the different sounds they would produce just to be sure that they were indeed different materials, as I could not see; as soon as I touched, I wanted to hear. I ran my hands around the space again, but this time trying to feel the things blocking my way before. When approaching I hit something with my foot, so I kneel down to touch it and realize it is some kind of bucket: I put my hand inside it and feel something hard, so I press and it disintegrates leaving nothing but dust between my fingers. In this case, the same thing happened, when I touched it and it disintegrated, I wanted to smell it as I could not recognize what it was by only touching it, and I wanted to taste it as its texture reminded me of the kind of biscuit that does that as well. As soon as I touched, I wanted to smell and taste. I find some kind of table, but it is tall and it feels smooth and cold, passing my hand over the surface I feel crumbles and it also feels a little sticky; I then lift my hand in disgust and hit it with something above: sensing it I realize it is a door, so it must be a cabinet. Moving on I find what feels like a sink so I reach for the faucet and wash the dust and crumbles off my hands to keep touching whatever is around: I find plates and bowls, but I am not putting my hands inside them in case they are dirty. I continue to move along what feels like a kitchen bar and finally hit a wall. Immediately then I find a window which is open as I now feel a bit of wind in my face, entering and chilling the room. Now I find a big piece of furniture that feels really cold and heavy, as I cannot move it; it has several drawers for what I can feel, very long but not as deep, which are resistant to me pulling to open them. When I approach the window and feel the wind in my face, I can immediately smell the leaves outside, even though I am not supposed to experience the space with other senses. Now a drawing table, there are bits of thick cardboard on it I rather not touch; another drawing table and as I put my hand on it I feel what could be a small model, so I grab it and carefully touch different bits of it feeling different materials on it, something smooth, then something rough, something fluffy, and I put it back. Yet another drawing table and I grab a zipper... it might be a piece of luggage but it is not very thick so maybe a portfolio case, it has sheets on top of it, but different kinds as some feel more fragile than others. Another drawing table and I lift something small of it, put it back and find another and another, they feel like little study models and they are shaped differently and made of different materials. I hit a wall again. I have reached the wall with the tiny bumps and I hit my lower leg; as I reach around with my arms I find nothing around me so I kneel down to see what I hit myself with. I find a table with something on it, I reach carefully and find a small box which I lift to find it is not heavy at all, and I put it back. I reach under the table and find a cable, so I follow it with my hands to see where it leads me to. It belongs to an extension lying on a table. I run my hands on it and feel and edge, then another table. The surfaces are not smooth, they have cuts all over, some deeper than others, and they have hard bumps as well. I follow the edge and find a different surface, another table a bit shorter, which is not damaged like these two. It is very smooth and one can barely feel its texture of tiny stripes. Finally I bump into a chair around it.

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Touching the bumps on the walls and the cuts on the surface of the working tables, as weird as it may seem, provoke sensations in my mouth and I want to touch them with my tongue, taste them, feel the depth or the roughness, but I do not do it. As soon as I touch, I want to taste. Seeing/Tuesday July 19, 2011/Around 16:00 hrs. “Sitting in one of the chairs around the working tables in the studio, I start looking around me, and although I am not in a completely enclosed place, I start feeling wrapped in space as I look up at the ceiling, which I had never really noticed before, the walls and through the windows... There are so many things around me that it is hard to know where to begin... I go with what I now know is indeed a kitchen bar: there are cabinets above it which are symmetrically aligned to it, they are all white, just like the walls. I guess this is a deliberate decision in order to make them go unnoticed as it is after all an architecture studio and a kitchenette is out of context. On the bar rests the figure of a cow which is actually a piggy bank, weird place for a piggy bank if you ask me. Further down on the bar, there is a sink and washing liquid that is either half full or half empty; there is a plate in the sink that has not been washed and a bunch more plates and bowls that are waiting to be put away or used by someone else, some of which are stained by their use. There is also a microwave spatter with only God knows how many different kinds of food, and a couple of teapots and coffee makers resting by the plates. Under the bar, two empty bins. Looks as if nobody has used the kitchen in a while. I think it is actually harder to describe the space you are looking at as there are so many things you would not be able to notice if you were not looking at them, like the colour of the walls or the existence of the piggy bank. On the other hand, a description based on what is only seen at the moment, can be deceiving; I know because I was here earlier, that the kitchen has been used, but the fact that the bins are empty gives the impression that it has not. Also I think it is interesting how after seeing certain things assumptions are made for the reasons these things are the way they are. The food stains on the plates and the microwave, make me want to smell them; as soon as I see, I want to smell. In the middle of the room there are four tables put together that form one big table; they are not dining tables though, more like working tables and desks, two of each. They seem to be made of wood but different kinds of it, I think this is due to their use: surely the desks are used for drawing and the working tables for more crafty activities as one can see the cuts and stains of paint and glue on them. The cuts and bumps on the working tables are one of those things that when seen, make me want to touch them, feel their depth, their texture, and maybe even try to rip them off the surface. As soon as I see, I want to touch. Behind the tables, adjacent to the walls there are four drawing tables with loads of things on each of them: paper sheets, pieces of cardboard, rests of wood, parts of study models and models in progress, images and drawings as well as different tools to work with all of these materials. The very existence of these materials on the drawing tables makes me want to grab them between my hands, feel their textures, look at them more closely and try to understand what they are or how they work. As soon as I see, I want to touch. Yet another table with a big board over it, where a map has been printed. It looks as though as it may have been a model of a city as there are rests of “buildings” laying around out of place, as if some kind of creature had destroyed them.

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My eye catches a piece of wood on the floor and then a bunch more other stuff next to it and under the above mentioned table; there are as many things laying on the floor as there are on top of the drawing tables, but these things seem dirty and useless, they are written or drawn on, full of dust and rubbish: torn apart or damaged study models, boxes with leftover materials such as cardboards, wood and polystyrene, stained recipients with a mixture that hardened with time that now contains paintbrushes. I know what the content of the bucket is because I can see it, and nonetheless I have the urge to touch it, feel it within my fingertips and maybe even smell it. As soon as I see, I want to touch and smell. The walls are white but they are stained by the rests of blue tack used to stick things to them; they look like moles or scars left by the chicken pox. Rests of different kinds of tape hang from the walls or have remained stuck to it becoming part of the wall itself. A few images remain as the decorations of the space in relation to the theme of the studio while others are the product of the work developed during the school year. The bumps I see on the wall, just like the bumps and scars on the table tickle my fingertips which cannot wait to caress the stained and bumpy surface. As soon as I see, I want to touch. There are three windows in this space: through one of them one can see a part of the building that this space is part of. Through the other windows the connection is with nature as trees and vegetation that seem to wrap around the space and do not let much light come in, are all that is visible. Through the windows one can see the leaves of the trees move and on the building across, the shadows they project. It must be windy outside. With sight we can perceive movement of bodies, and that is how I can tell it is windy outside; we can also perceive the pass of time, by the change in the shadows projected on the building next door. In the middle of the two windows that look at nature there is a massive piece of furniture that looks like a drawer chest; another place on top of which people can pile things that get in their way, and where drawers have name tags of the people who during the year used the space and made it their own.” Conclusion Every time I was trying to describe the space with only one sense, I realized there is absolutely no way to disconnect the others; it would happen naturally and unconsciously, but the fact of the matter is I ended up experiencing the space in more than one way simultaneously: when I was seeing the kitchen bar, I could not help but wanting to touch each of the materials; when smelling the microwave, I could not help but wanting to taste whatever had just been heated in it; when smelling the coffee, I could not help but thinking of home; when hearing the wind blowing I could not help but feeling chills; when touching the models I could not help but wanting to see what they were made off, and so on. I realized that when experiencing a space, with one or with all the senses, we try to provide explanations for the things we experience, we make assumptions or come up with reasons to understand why things are the way they are, when this is not explained to us, and this assumptions, reasons and explanations are based on our personal experiences; we relate what we are seeing, hearing, touching, smelling and tasting, with things that are familiar to us, things we know and memories. In a way, this connects us to the experience. Also, I realized, even though each separate sense can give you an idea of what is going on in there, each sense provides different types of information. This information may coincide sometimes: by sight, hearing, touching, smelling and tasting, I could tell there was a kitchenette there; but the truth of the matter is, that In order to provide an accurate description of the place, I would have to include not only what I saw, but also what I heard, touched/felt, smelled and tasted, when experiencing the space. This only reaffirms the importance of addressing all the senses in the experience of space.

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Chronicles of an Unannounced Inundation: Part 1 By Mirna Elizabeth Ruiz Escobar On Friday September 17 of 2010, hurricane Karl stroke the port of Veracruz. Despite this, the day went by relatively calmed. Real trouble began the next day, when personal of the Mexican army warned the inhabitants of Puente Moreno and Arboleda San Ramon neighbourhoods, located in Medellin de Bravo, that it was imperative for them to evacuate their homes since the Puente Moreno stream, which lies within said neighbourhoods had overflowed. As it is natural, most people paid no attention to this warning: some for incredulity, others from distrust, and the rest because they were afraid to leave their homes and become victims of theft. My family and I were home, in the Floresta neighborhood, which is well known for its inevitable floods during raining season, when my mother got a call from her sister in law saying they were trapped in their house because a couple of trees had fallen during the hurricane. The trees were blocking access to the house and had burst the electricity cables and water pipes, so they had no electricity, no water and no phone; their only mean of communication was a cell phone for as long as its battery lasted. To top that up, one of her daughters with a high risk pregnancy was evacuated from her home in Puente Moreno, and that‟s when movilization began for us. I was sleeping and my mother woke me up and presented me with all these information, asked me to go see if my aunt was ok and if they needed anything, and also to try and convince my cousin to stay with us instead as in her condition was not safe to be in that isolated place. Then my sister got a call from her boyfriend who also lives in Puente Moreno, who said he was coming to our house because in fact the stream had overflowed and Puente Moreno was under water. It was four in the afternoon and we were listening to the news broadcast on the radio, waiting for instructions or information. Suddenly, neighbours started saying that the rivers had overflowed and that in order to avoid a flood in other neighbourhoods they‟d send the water towards our own. This had happened before, but my street had ever been flooded, so we took minimal precaution: put the living room on top of bricks, the dinning chairs on top of the table, and brought a few things up to the second floor. While we were doing this, panic began to spread, so we decided to grab a change of clothes and leave the house around five thirty in the afternoon. My sister was the first to leave the house in my father‟s car, and I followed her with my dog after ten minutes, while my parents stayed behind. The scene was chaotic: there were huge lines to exit the neighbourhood, water had begun to flood the main streets, and cellphone lines were saturated which made communication impossible. We had agreed to go to my mother‟s sister‟s house, but I had to drop my dog at my grandmother‟s house first. When I got there I tried calling my sister who was at the boarder of a nervous breakdown because she couldn‟t get in touch with my parents. I tried to contact them but it was useless, so I dropped the dog and went to meet my sister. When we were together, my mother called us and said she and my father were headed to the red cross, a small clinic, because my father had a strong pain in his injured leg. My sister wanted to go with them, but there was no point. We stayed at my aunt‟s house and waited for them to return, which happened many hours later. Through the rest of the afternoon we kept getting information from all kinds of sources; we learned that a few of our neighbours had stayed behind, but because water had reached one meter to one meter and a half high, the army had entered the neighbourhood in boats and helicopters to evacuate them. When my parents got home around eleven at night, we were all exhausted and mortified for what had happened, but we sat together to have dinner and talk. My sister‟s boyfriend called me to go upstairs to meet him and my sister, and when I did I found my sister crying and in the middle of a panic attack because she had been looking at pictures from friends who also lived in our neighbourhood, where the water reached the roofs of some houses. I

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tried to calm her down with no success and decided to leave her alone. I then had to spend the night at a friend‟s house since my aunt‟s place was full. On Sunday, september 19, news and information kept flowing. When I woke up, I turned the TV on and started looking at the images of the devastated areas, it was shocking, never before had we seen something like that happen in our town: complete neighbourhoods under water, people trapped on the roof of their homes, people walking with water up their waists or chests in some cases. I wanted to be with my family right away, so I headed back to my aunt‟s house. Chaos was reigning there since there were three families who had been affected by the flood, including mine and excluding the family that actually lived there. We began to organize the contingency plan, went to buy food and water since according to the authorities there‟d be a lack of potable water, and we put gas on every car we had. Came Monday, still in a state of alert, school was suspended and many people missed work. People who had been affected by the flood had to sign up at the World Trade Center where the State Government was providing support for the victims. My sister‟s boyfriend went home to get valuable belongings and clothes but did say it was practically impossible to go in: it was still flooded and the only way to get in was either walking or through the special vehicles that PEMEX had provided. She also contacted some neighbours who said they had been waiting in line since seven in the morning in order to have one of the army boats take them home to collect things they needed. Tuesday went by with no special news. On Wednesday, I was determined to go home to get a few things, so I asked my sister‟s boyfriend to come with me. Around noon, my aunt called me and said one of her friends was in one of the neighbourhood‟s entrance, letting people use his jet sky to go inside. When we got there, there was a huge crowd waiting for a chance to go inside, and whole lot of people altruistically lending their boats and jet skies for people to do so. It was sad on one side to see all the devastation but very nice to see all those people trying to help others. So we took the jet sky and ventured into the neighbourhood. We saw cars and vans underwater, water inside homes, trees floating on what used to be streets, and even people on roofs afraid to leave their homes to become victims of theft. When we got to the house, got off the jet sky and water was up to our waists. We tried to open the door but it was stuck, so my sister‟s boyfriend climbed through the side wall to the roof and tried to get in through the back. Since we couldn‟t open the door from the inside either, i had to climb and get inside through the roof. As I was going down the stairs this stinking smell invaded the place. I seem to have forgotten to mention the neighbourhood was flooded by black waters, it was practically black. As I reached the first floor I started to stumble upon unrecognizable objects; first thing I did was to cut the power and gas, opened the windows and looked around to evaluate the damage. Afterwards, I went to my parents‟ bedroom to get a few things for them, but had to ask my sister‟s boyfriend to help with that because the bed‟s headboard was destroyed and had pushed the bed against the closet, making it impossible for me to open it. We both lifted the headboard, pushed the bed which was extremely heavy because the mattress was full of water; I started getting clothes out to bring to the second floor, while my sister‟s boyfriend was doing the same in her room. We finished packing things about an hour later and started bringing some things upstairs. Called the jet sky guy when we were done to have him pick us up and take us back where my sister was waiting for us. We got back to my aunt‟s house, packed, filthy, stinky and starved. We ate and took a long shower, but exhausted as we were, had to organize and accommodate everything we had brought back. The rest of the day and couple of days that followed went by irrelevantly; we were just waiting for the water to go down to be able to return home, praying to God to take care of it because robbery was at the order of the day.

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Finally, it was within the week that we were able to enter our home by foot, water was gone and all accesses were free, but the history doesn‟t end here; it was just beginning... It is truly demoralizing going inside your home and see that it‟s all covered in mud, floor and walls stained by it, furniture destroyed and practically everything lost. Nevertheless you have to try to keep your head held high and see ahead. It was all up to me to begin the cleaning duties, since my mom had to work, my dad was injured and my sister was back in school. I had to remove all garbage, most things were unrecognizable, furniture upside down, the fridge was lying on the floor, paper and cardboard everywhere. I had to take the furniture outside, which I have no idea to this day how I did that or where I got the strength from because I did it by myself. And so the cleaning duty began that day and went on for weeks, from seven in the morning to eight every night, we‟d come home to clean, wash, and disinfect floors, walls, furniture, etcetera and the more we cleaned, the more we couldn‟t see the end of it. The house was uninhabitable for a month, so we continued to stay with my aunt for a month and eating at her house for another month since we had no kitchen. In the end we were able to save the stove, the fridge and washer, but many things like the living room, the bedrooms and mattresses were destroyed. It was very hard work for several days which by the end of each my body couldn‟t resist anymore and I had to take a powerful muscular relaxer in order to deal with all the pain. Physical pain summed to desperation, impotence and sadness made each day harder to go on, but we carried on, thanking to be alive, together and to have saved my dog, the cars and a few other appliances. It‟s been almost four months since this tragedy occurred and to this day the work goes on: the walls are still stained and we are still missing furniture; we just have the basics because we lack the time and the money, but little by little we‟ve been able to move on, although the road is still long. The SEDESOL (Secretary of Social Development) dependent of the Federal Government was the institution in charge of providing help through the repartition of vouchers worth 10,000 pesos (500 pounds) to victim families. Representatives from this institution went house by house registering and evaluating the damages. Vouchers were exchangeable in local convenient stores, but were very limited and policies varied from place to place. The army, beyond helping got in the nerves of people. You had to wait in line for hours in order to have access to one of the boats, then you had 15 minutes to get in and bring what you needed back out, which wasn‟t enough time. When I went in with the jet sky, I saw many boats with no civilians, and men from the military supposedly doing safety rounds. I sadly manifest that the army forces‟ performance during this situation was disappointing. Another thing that created major chaos was the gossip spread by some people about how the government wanted to buy the neighborhood: they were going to go house by house estimating the house‟s value and according to the results they would offer to buy your house. Another rumour stated that the neighbourhood wasn‟t flooded by the forces of nature but because they were trying to avoid a luxurious neighbourhood to be flooded, on decision by the government. Rumours about crocodiles and rewards of thousands of pesos for catching them were let out as well. There was a meeting of all the people living in my neighbourhood, where hundreds, possibly thousands of people gathered at the World Trade Center, where the state governor was, the Lic. Fidel Herrera Beltrán; after hours of waiting for him to come out, people were becoming impatient. Inside the building, there were mostly people with influences, I got in with my mom with the help of a good friend who happens to work there. When the governor finally came out, security was minimal. People outside was already starting to push against the glass walls and inside panic was beginning to spread for people feared for their security as it seemed as though the glasses were going to break if people kept pushing. The governor then allowed

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people to get inside, which made most people who were already inside decide to retreat due to safety concerns. Finally I only would like to add how I‟ll be forever grateful for the support of many family members and friends.

Chronicles of an Unannounced Inundation: Part 2 By Lorena Carranza de la Parra It is very well known that hurricane season in Veracruz begins in August and ends in November. Usually the authorities announce through the media the category of each hurricane and the place where it will impact. Thank God, very few times a hurricane has actually reached the coasts of Veracruz, because of the shape and location of the state, although we are not exempt of a tropical storm hitting us, as hurricanes Gilberto and Wilma have proven in the past. Civil Protection is the institution in charge of keeping the citizens informed about the different safety measures that need to be taken in case of a sinister and only the state governor can suspend school and work activity if the circumstances call for it. This happens at least once a year in Veracruz due to the strong winds that strike the coasts, which in more than one occasion have generated panic and paranoid shopping sprees among the inhabitants of the city, but hurricane Karl was the exception. Being so used to the exaggerated precaution measures from the authorities, the population paid no attention to Civil Protection‟s instructions, and we simply expected another strong wind. The first hours of the 17 of september passed as any other day. It was rainy but not windy. The arrival of the hurricane wasn‟t the most talked about topic of the day, since there were no clues as to where it would impact. All people talked about was the parade and multiple concerts taking place in Mexico City due to the Bicentennial of the Independence of the country, we were never prouder of being Mexicans, than in those days. At around ten in the morning, winds began to strike at 185 km/h and at half past eleven the hurricane touched the ground north of the port of Veracruz and continued its journey towards the inner state, becoming weak until turning into a tropical depression. They say “after the storm comes the calm” and that‟s what everyone was hoping for, that‟s why we never saw it coming. The morning after Karl impacted the day was bright and the sun was shining, not a cloud in the sky, it was the perfect day to go to the beach. Because Karl kept going on towards the mountains of the state, it generated lots of rain in those areas, provoking the overflow of several rivers, streams and channels. That afternoon, the authorities announced that several neighbourhoods withing the city and other towns close to it needed to be evacuated and by eight o‟clock that night, many of this were underwater due to the overflow of rivers Jamapa and Cotaxtla. There‟s no way to describe the mood of the entire population the days that followed the contingency, even if you had not been affected by the flood, you most certainly knew someone, friend or family that was a victim: people who lost EVERYTHING from night to morning, who never imagined the level of water would reach and cover their entire homes. There were some lucky ones who had family they could stay with, but the less fortunate had no choice but to go to the shelters provided throughout the state. One of the biggest shelters was at the World Trade Center, which was already hosting people from Tlacotalpan, a city that is Cultural Heritage of Humanity and had been flooded for about a month due to incisive rain. Personally, I am very proud to be Mexican and like I said, during this month the feeling reigned in the entire nation for the festivities of the Mexican Independence, but the biggest pride I felt was on Sunday September 19, when the population voluntarily joined and went to the shelters to help people that had lost everything in a matter of hours. Help came from within the whole country: Monterrey, Guadalajara, Puebla, and Mexico City to name a few.

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During the first days, the shelters were pure chaos, because Civil Protection wasn‟t telling the volunteers what they had to do and most people ended up just doing what they thought was more convenient. The society founded different storing centers for supplies because there was this rumour that the governor was taking responsibility for all the help coming from outside the state, in order to help his campaign towards the presidency of the country. Government did provide help in the form of vouchers for people to buy supplies to start over, although the amount distributed wasn‟t enough for much. The Floresta and Flores del Valle neighbourhoods are often affected by rain due to the fact that they were built on a zone of mangrove swamps. The authorities presented a plan to buy both neighbourhoods and turning it into a lagoon and park. They still haven‟t reached an agreement, and honestly I doubt they ever will, because there are people who aren‟t thrilled about the idea and refuse to abandon the homes they built with such effort which are their children patrimony.

Chronicles of an Unannounced Inundation: Part 3 By Pamela Rodríguez Preciado During the hurricane nothing really happened. For me, it was another strong wind with a lot of rain. I was home the next day and everything was calmed. Around noon people were saying that water had reached “Flores del Valle”, but the way it always did cause that area usually gets flooded when it rains, so nobody worried too much. It wasn‟t until four in the afternoon that the alerts began. They told people to evacuate, but only people who lived in the middle of the neighbourhood and those avenues that always get flooded. In the evening, around seven at night, the marines came saying we had to evacuate because water was reaching our street and they were gonna cut the power. I live one block from one of the main avenues of the neighbourhood and the amount of cars and traffic at the time was impressive. Despite this I was pretty calmed because my street had never been flooded and all the houses in the block were built over one meter above street level, because people were aware that something like this could happen. Thank you people, this saved us. When I left home, my parents were talking to the neighbours and evaluating the situation. Many people didn‟t want to leave because there had been a lot of reports of robbery within the area in houses that people had evacuated earlier. My mother met me and my brother later that night with everything she could get in the car, like valuables and important documents. My father stayed behind watching the house, as did some of our neighbours. By this time, the power was out and the water had completely covered the park in the corner of my block. At about three in the morning my father called us. Water had reached the sidewalk and kept going up, but he didn‟t think it would reach the interior of our house. He called again at seven in the morning for us to pick him up. As we got there, we weren‟t allowed inside the neighbourhood and we had to leave the car just outside of it. The image we got getting there was the most frightful thing I‟ve seen in my life, everything covered in water, it was impressive. To get to my house I had to walk and water was up to my knees, but as I kept going forward it went down because my house is built up. When we reached my dad water had gone down a bit. The following days were all about monitoring, there still was no power and little by little water kept going down. Four days after everything happened I went back home and the smell was dreadful. It smelled like a swamp, mud, like rubbish. It was impressive to see everyone bringing stuff out of their homes and as you were entering the neighbourhood you were able to see how far and high the water had reached.

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Now everything seems to have gone back to normal, but just in appearance. Humidity is filtering everywhere, the texturized walls of my home are falling apart, the walls of the patio are turning black, the tiles in some rooms are lifting and breaking, I guess it‟s because the ground is moving.

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