Carless Sarah 2011

THE STUDY OF SENSORY STIMULATION AS AN
ARCHITECTURAL DESIGN TOOL: A Proposed Children's Centre

and Community Facility in Umlazi
Sarah Carless
DECLARATION
A Dissertation submitted in partial fulfihnent of the requirements for the degree of Master of
Architecture.
I hereby declare that this dissertation is my own unaided work. It is being submitted to the School of
Architecture, Planning and Housing, University ofKwaZulu-Natal, Durban, for the degree of
Master in Architecture, and has not been submitted before for any degree or examination at any
other University.
Signed by me on this 27th day of May 2011.
ii
ACKNOWLEDGEMENTS
To my supervisor, Majahamahle Nene Mthethwa, and facilitators, Isaac Levy and Yashaen Luckan,
thank you for your willingness to help, your guidance and enthusiasm.
Thank you to my family and friends for all your support and encouragement through the highs and
lows of this long process.
Thank you to those who so willingly gave of their time and expertise to help:
Gavin Houldin, Patrick Smith, Shaun Coleman and the rest of the team at Walker Smith Architects.
Without your assistance, support and invaluable advice, this would not have been possible.
Wendy Carless, Carol Barlow and Joy Claassen, for so readily sharing your expertise on children.
Derek Van Heerden and the team at East Coast Architects.
The teachers at Roseway Waldorf School, Assagay and The Seven Fountains School in Kokstad as
well as the staff at The Shayamoya Community Centre in Kokstad.
Thank you to the outstanding staff at the Architecture Library: Tim, Janine, Michelle and Mukesh.
Your assistance does not go unnoticed.
iii
DEDICATION
To my parents,
Your continuous love, support and encouragement when things seemed impossible can never be
fully appreciated.
IV
ABSTRACT
Architecture is intended to house, shelter and define the framework within which human activity
occurs. It is far more than purely functional and its vast impact on the physical, emotional and
psychological aspects of its users should not be ignored. Unfortunately, much contemporary
architecture has become driven by external appearances, pushing the boundaries of technology and
engaging with the eyes. The sensory aspects of architecture that enhance the body's experience,
have largely been neglected, much to the detriment of the human experience, as it is through the
body that one perceives, engages and enjoys architectural spaces.
This dissertation looks into a more appropriate response to architectural design that understands the
significance of the sensory experience of the human body. Benefits of such an architectural theory
are considered and the practical application of this approach to architectural design is discussed.
Furthermore, this exploration is used to analyse children's experience of the built environment.
Basic research recognises the importance ofthe environment on children's development; however,
this knowledge is seldom applied to the design of children's spaces. The research undertakes to
more fully examine children's development and the physical, sensory and psychological manner in
which children engage with the built environment. The findings include proposed design approaches
that suitably respond to this.
The research culminates in an analysis of the sensory approach to architecture in the local context of
KwaZulu-Natal. Conclusions are drawn from the research carried out through interviews, a review
of literature, and analysis of case studies and precedents studies. The outcome of this dissertation is
a set of recommendations, principles and an understanding of the criteria necessary to inform the
design of a Children's Centre and Community Facility in Umlazi.
v
TABLE OF CONTENTS
DECLARATION............................................................................................................................................ n
ACKNOWI.EDGEMENTS........................................................................................................................... iii
DEDICATION................................................................................................................................................ tv
ABSTRACT.................................................................................................................................................... v
TABLE OF CONTENTS ............................................................................................................................... vi
LIST OF ILLUSTRATIONS......................................................................................................................... vii
PART ONE
BACKGROUND RESEARCH ON ISSUES
CHAPTER I INTRODUCTION ........................................................................................................ 01
1.1 INTRODUCTION.................................................................................................... 02
1.1.1 Background................................................................................... 02
1.1.2 Justification of the study.............................................................. 03
1.2 DEFINITION OF THE PROBLEM, AIM:S AND OBJECTIVES........................... 04
1.2.1 Definition of the Problem............................................................. 04
1.2.2 Aims................................................................................................ 05
1.2.3 Objectives...................................................................................... 05
1.3 SETTWG OUT THE SCOPE.................................................................................. 06
1.3.1 Delimitation of Research Problem.............................................. 06
1.3.2 Dermition of Terms....................................................................... 07
1.3.3 Stating the Assumptions ............................................................... 08
1.3.4 Key Questions................................................................................ 09
1.3.5 Hypothesis..................................................................................... 09
1.4 CONCEPTS AND THEORIES................................................................................ 10
1.5 RESEARCH METHODS AND MATERIALS ........................................................ 14
1.6 CONTRIBUTION TO KNOWLEDGE.................................................................... 16
1.7 CONCLUSION ......................................................................................................... 16
Vl
CHAPTER2 PSYCHOLOGY OF THE SENSES............................................................................. 20
2.1 CONTEMPORARY ARCHITECTURE AS A VISUAL ART ............................... 21
2.2 THE MODERN DESIGN APPROACH.................................................................. 24
2.3 THE NEED FOR REINVENTION.......................................................................... 28
2.4 THE USE OF THE SENSORY SYSTEMS IN THE EXPERIENCE OF
ARCHITECTURE................................................................................................... 30
2.5 CONCLUSION....................................................................................................... .. 36
CHAPTER3 ARCHITECTURE AND THE SENSES..................................................................... 37

3.1 THE EXPERIENCE OF THE BODY....................................................................... 38
3.2 THE IMPORTANCE OF TACTILITY .................................................................... 41
3.3 RETAINING MEMORY THROUGH BODILY EXPERIENCE ............................ 44
3.4 ENHANCING PERSONAL IDENTITY WITHIN SPACES................................... 45
3.5 SPIRIT OF PLACE................................................................................................... 47
3.6 ENHANCING THE BODY THROUGH BUlLT FORM......................................... 50
3. 7 CONCLUSION......................................................................................................... 53
CHAPTER4 CHILDREN AND THEIR ENVIRONMENTS......................................................... 55

4.1 COGNITNE, PHYSICAL AND SOCIAL DEVELOPMENT............................... 56
4.2 CHILDREN'S SPATIAL EXPERIENCE................................................................ 58
4.3 THE IMPORTANCE OF PLAY IN DEVELOPMENT AND SPATIAL
EXPERIENCE .......................................................................................................... 61
4.4 THE PSYCHOLOGY OF THE PLACE EXPERIENCE......................................... 63
4.5 CONCLUSION......................................................................................................... 66
CHAPTERS A NEW APPROACH TO THE DESIGN OF CHILDREN' S SPACES.................. 67

5.1 REGGIO EMILIA APPROACH TO THE LEARNING
ENVIRONMENT..................................................................................................... 68
5.2 THE PROVISION OF VARIETY.. .......................................................................... 70
5.3 INSPIRATION FROM NATURE ............................................................................ 73
5.4 ARCHITECTURE AS A TEACHING OPPORTUNITY.... .................................... 77
5.5 CONCLUSION......................................................................................................... 80
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CBAPTER6 APPROACHING ARCHITECTURE AS A SENSORY STIMULATOR IN
CONTEMPORARY BUll.T FORM.......................................................................... 81
6.1 THE BODILY EXPERlENCE IN ARCHITECTURE: The Therrne Vals,
Switzerland.............................................................................................................. 82
6.2 THE SIGNIFICANCE OF SPATIAL LAYOUT IN MULTISENSORY
ARCHITECTURE: Kiasma Museum of Contemporary Art, Helsinki ................... 88
6.3 APPROPRIATE SPACES FOR CHILDREN: The Children's School, United
States......................................................................................................................... 95
6.4 DESIGNING FOR CHILDREN IN THE SOUTH AFRICAN
CONTEXT: Thembelihle Creche, Montie Factory Creche and Olifantsvlei
Creche, Johannesburg............................................................................................... 103
CHAPTER 7 REGIONAL RESPONSE TO SENSORY STIMULATION AS A TOOL IN

THE DESIGN OF CHILDREN'S SPACES.............................................................. 107
7.1 ROSEWAY WALDORF SCHOOL, ASSAGAY................................................ 108
7.1 .1 INTRODUCTION........................................................................................... 108

7.1.2 JUSTIFICATION OF CASE STUDY............................................................. 108
7.1.3 LOCATION ..................................................................................................... .I l O
7 .1.4 HISTORICAL AND SOCIAL CONTEXT OF CASE STUDY..................... Ill
7.1 .5EMPIRICALDATA........................................................................................ Ill
7.1.5.1 Spatial Layout and Planning Prindples...................... 111
7.1.5.2 Aspects of Environmental Sustainability.................... 114
7.1.5.3 Materials and Tactility.................................................. 116
7.1.5.4 Applied Principles of Children' s Design..................... 118
7.1.5.5 The Application of Sensory Elements.......................... 121
7.1.5.6 Spirit of Place................................................................. 123
7.1.6 CONCLUSION................................................................................................ 125
viii
7.2 SEVEN FOUNTAINS SCHOOL, KOKSTAD.................................................... 126
7.2.1 INTRODUCTION........................................................................................... 126

7.2.3 LOCATION..................................................................................................... 127
7.2.4 HISTORICAL AND SOCIAL CONTEXT OF CASE STUDY..................... 129
7.2.5 EMPIR.ICAL DATA........................................................................................ 129
7.2.5.1 Spatial Layout and Planning Principles...................... 129
7.2.5.2 The Building as a Teaching Opportunity.................... 132
7.2.5.3 Materials and Tactility.................................................. 133
7.2.5.4 Applied Principles of Children's Design..................... 135
7.2.5.5 Identity........................................................................... 136
7.2.6 CONCLUSION................................................................................................ 137
7.3 SHAYAMOYA COMMUNITY CENTRE, KOKSTAD ...................................................................... 141
7.3.1 INTRODUCTION........................................................................................... 141

7.3.3LOCATION...................................................................................................... 143
7.3.4 HISTORICAL AND SOCIAL CONTEXT OF CASE STUDY..................... 144
7.3.5 EMPIRICAL DATA........................................................................................ 145
7.3.5.1 Building functions, Spatial Layout and
Planning Principles ...................................................... .. 145
7.3.5.2 Multisensory Architecture ............................................ 148
7.3.5.3 Designing for Children.................................................. 150
7.3.5.4 Environmental Sustainability....................................... 152
7.3.6 CONCLUSION...................................................................................................... 154
CHAPTERS ANALYSIS AND DISCUSSION................................................................................. 156

8.1 MEMORY, IDENTITY AND SPIRIT OF PLACE................................................. 157
8.2 CHILDREN'S INTERACTIONS WITH THE ENVIRONMENT.......................... 158
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8.3 THE APPLICATION OF MULTISENSORY ARCHITECTURE IN THE
DESIGN OF CHILDREN'S LEARNING SPACES................................................... 159
8.4 THE APPLICATION OF NEW APPROACHES TO THE DESIGN OF
CHILDREN'S SPACES............................................................................................... 160
CHAPTER9 CONCLUSION (AND RECOMMENDATIONS).......................................................... 163

9.1 SUMMARY OF FIN'DINGS........................................................................................ 164
9.2 CONCLUSIONS ........................................................................................................... 166
9.3 PROBLEMS ENCOUNTERED................................................................................... 168
9.4 AVENUES FOR FURTHER RESEARCH.................................................................. 169
BIBLIOGRAPHY............................................................................................................................................... 171
APPENDICES 1.................................................................................................................................................. 175
APPENDICES 11................................................................................................................................................ 177
X
LIST OF ILLUSTRATIONS
LIST OF FIGURES
Chapterl
2.0 Floor plan of the Chartres Cathedral (www.sacred-destinations.com)
2.1 Reflections of sound off various surfaces (Egan, 1988 in Walden, 2008: 19)
Chapter 3
3.0 Floor plan of the Kiasma Museum (www.annakostreva.org)
ChapterS
5.0 Floor plan of the Harris Family Children's Centre (www.designshare.com)
5.1 The initial sketch site plan ofthe Harris Family Children's Centre (www.designshare.com)
5.2 Traditional layout of a learning space (Dudek, 2005:41)
5.3 Creative, user-determined layout of a learning space (Dudek, 2005:42)
5.4 Interior sketch of the Ballifield Community Primary School (www.imagineschooldesign.org)
5.5 Plan of the Ballifield Community Primary School (www.imagineschooldesign.org)
Chapter6
6.0 Site plan ofthe Therm Vats (Ryan, 1997: 42)
6.1 Ground floor plan ofthe Therme Vats (Steiner, 1997: 28)
6.2 First floor plan of the Therme Vals (Steiner, 1997: 28)
6.3 Site Plan (Lecuyer, 1998: 48)
6.4 Longitudinal cross-section (Lecuyer, 1998: 48)
6.5 Cross-section (Lecuyer, 1998: 48)
6.6 First floor plan of the Kiasma Museum (Lecuyer, 1998: 49)
6.7 Ground floor plan ofthe Children's School (www.imagineschooldesign.org)
6.8 Site plan (www.imagineschooldesign.org)
Xl
6.9 Floor plan of the Olifantsvlei Creche (Joubert, 2009: 163)
6.10 Elevation of the Olifantsvlei Creche (Joubert, 2009: 163)
Chapter7
7.0 Site section sketch (Author's sketch)
7.1 Classroom layout options (Author's sketch)
7.2 Sketch plan of the play space (Author's sketch)
7.3 Sketch section (Author's sketch)
7.4 Site plan of Seven Fountains School (Kinsler, 2006: 10)
7.5 Elevation sketch (Kinsler, 2006: 10)
7.6 General plan of the school layout (Kinsler, 2006: 10)
7.7 Classroom layout options (Kinsler, 2006: 9)
7.8 Classroom section below (Kinsler, 2006: 9)
7.9 Sketch section diagram (Author's sketch)
7.10 Aerial view of Shayamoya Community Centre (www.googleearth.com)
7.11 Overall layout of site (East Coast Architects, 2011)
7.12 Floor plan of Community Centre highlighting functions (East Coast Architects, 2011)
7.13 30 model of the workshop building (East Coast Architects, 2011)
7.14 Floor plan of Community Centre highlighting courtyards and internal streets (East Coast Architects,
2011)
7.15 Floor plan of the Clinic and Administration building (East Coast Architects, 2011)
7. 16 3D model highlighting colours used (East Coast Architects, 2011)
7.17 3D shows the sensory stimulating internal street (East Coast Architects, 2011)
7.18 Floor plan of the preschool and kindergarten (East Coast Architects, 2011)
7.19 3D model illustrates solar shading devices used (East Coast Architects, 2011)
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LIST OF PLATES
Chapter 2
2.0 Andy Warhol's Campbell's Soup (www.artofcolour.com)
2.1 Rembrandt's Bathsheba at her Bath (www.allartclassic.com)
2.2 Marcus Vitruvius Pollio's Vitruvian Man (www.wikipedia.org)
2.3 The John Hopkins Hospital (Bloomer, Moore, 1977: 16)
2.4 Haviland Penitentiary in Philadelphia (Bloomer, Moore, 1977: 16)
2.5 The National Theatre by Denys Lasdun (www.glasspilgrim.blogspotcom)
2.6 Steel balustrades detail (www.builderbill-diy-help.com)
2.7 Wooden balustrade detail (www.ipmfittings.co.uk)
Chapter 3
3.0 Therme Vals interior view (www.poloralphlaurenstore.com)
3.1 Therme Vals interior view (www.poloralphlaurenstore.com)
3.2 Therme Vals exterior view (www.poloralphlaurenstore.com)
3.3 The de Young Museum (www.mccullagh.org)
3.4 The American Folk Art Museum (www.architravel.com)
3.5 Kaisma Museum of Contemporary Art (www.hilarypfeifer.blogspot.com)
3.6 Kaisma Museum of Contemporary Art (www.bombsite.com)
3.7 The Piazza San Marco in Venice (www.travelpod.com)
3.8 The Therme Vals, Switzerland. (www.arcbnow.com)
3.9 Falling Waters by Frank Lloyd Wright (www. kongdoo.livejoumal.com)
Chapter4
4.0 Textural variation 1 (www.dullmensclub.com)
4.1 Textural variation 2 (www.hotelrome.net)
4.2 Children play on the steps of S. Maria Maggiore (Rassmussen, 1959: 17)
XVII
4.3 Children play in Beirut, Lebanon (www.stevemccurry.wordpress.com)
4.4 Children play in the city of Cuemavaca, Mexico (www.gringaespanola.com)
4.5 Children build shelters using materials easily available (www.mus-ic.co.uk)
Chapter 5
5.0 Imagination Playground, New York (Fennell, 2010: 106-107)
5.1 Ton Venhoeven's Childcare Centre in Souest (Dudek, 2005: xvii)
5.2 Fold down worktop in Ballifield Primary School (www.pruearchitects.co.uk)
Chapter6
6.0 Exterior view ofThenne Vats (www.daheenxxx.blogspot.com
6.1 Interior bath at the Thenn Vals (www .architrave!. com)
6.2 Layered Valser Quarzite slabs (www.architectsjournal.co.uk)
6.3 Changing rooms at Therme Vats (www.archdaily.com)
6.4 Bronze balustrade (www.jpgmag.com)
6.5 Bronze fountain (www.notsoso.com)
6.6 Interior view ofTherme Vats (www.mimoa.eu)
6.7 Interior view ofThenne Vats (www.architravel.com)
6.8 Exterior view ofTherme Vals (www.architravel.com)
6.9 Slivers of light enter the Therme Vats (www.archdaily.com)
6.10 Kiasma Museum of Contemporary Art (www. flickriver.com)
6.11 Interior spaces in the Kiasma Museum (www. helsinkitraveller.info)
6.12 Interior spaces in the Kiasma Museum (www.wayn.com)
6.13 Curved wall ofthe Kiasma Museum (www.styleforum.net)
6.14 Exterior materials (www.helsinkiinstyle.fi)
6.15 Exterior materials (www.aedesign.wordpress.com)
6.16 Interior tactile elements (www. kiasma.fi)
6.17 Brass railing on plastered wall (www.archinect.com)
xvii
6.18 Variety of light conditions achieved (www.hebert.kitp.ucsb.edu)
6.19 Variety of light conditions achieved (www.architravel.com)
6.20 Exterior view of water at the Kiasma Museum (www. locationguide.fi)
6.21 Exterior of the Children's School (www.imagineschooldesign.org)
6.22 Interior view of the Children's School (www.imagineschooldesign.org)
6.23 Indoor I outdoor relationship at the Children's School (www.worldarchitecturenews.com)
6.24 Large overhangs (www.topboxdesign.com)
6.25 Timber cladding on the exterior soffits (www.imagineschooldesign.org)
6.26 Patterns oflight created (www.imagineschooldesign.org)
6.27 Muted internal colours (www.imagineschooldesign.org)
6.28 Vertical heights and scale (www.imagi.ne schooldesign.org)
6.29 A comer window seat (www.imagineschooldesign.org)
6.30 Material palette ofthe Olifantsvlei Creche (Joubert, 2009: 167).
6.31 Use of shade cloth (Joubert, 2009: 164-165).
6.32 Use of shade cloth (Joubert, 2009: 164-165).
6.33 The oversailing roof and lowered elements recognize the scale of the child ( Joubert, 2009: 166-167)
6.34 Building is viewed as a toy (Joubert, 2009: 167)
Chapter 7
7.0 Location and surrounding areas ofRoseway Waldorf School (www.googleearth.com)
7.1 Overall school layout and position of various age groups (www.googleearth.com)
7.2 Primary school layout (www.googleearth.com.)
7.3 High school layout and courtyard (www.googleearth.com.)
7.4 Outdoor access and large verandahs provide outdoor teaching space (Author)
7.5 Benches surround old trees enabling lessons to take place outside (Author)
7.6 Racks of gumboots sit outside each classroom (Author)
7. 7 Low planters are built at the correct height for children to access (Author)
7.8 Rainwater fills Jo-Jo tanks (Author)
xvii
7.9 Recycling facilities are provided on the school grounds (Author)
7.10 Wooden play equipment (Author)
7.11 A variety of materials used on the building exterior (Author)
7.12 Screed flooring is inlaid with pebbles (Author)
7.13 Mosaic pavers create an interesting floor texture (Author)
7.14 Mosaics and textured wall features (Author)
7.15 Mosaics and textured wall features (Author)
7.16 View of the garden (Author)
7.17 Additional alcoves have been built (Author)
7.18 View ofthe garden (Author)
7.19 Water feature contributed by the pupils (Author)
7.20 Waterfall feature conceals the addition joints (Author)
7.21 Mosaic floor (Author)
7.22 Textured wall art (Author)
7.23 Hanging mobiles (Author)
7.25 Hanging wind chimes (Author)
7.25 Water feature creates the sound of running water (Author)
7.26 Lavender bush (Author)
7.27 Aromatic plants (Author)
7.28 View of the school set amongst the natural environment (Author)
7.29 Intimate spaces allow one to sit within the gardens and absorb the spirit of place (Author)
7.30 Aerial view of Seven Fountains School showing location (www.googleearth.com)
7.31 View of the external classroom space (Author)
7.32 Example of a multipurpose space (Author)
7.33: Mezzanine teaching space (Author)
7.34 Grey water channel covering that provides play opportunities (Author)
7.35 Environmentally sustainable gutter downpipes form part of the building aesthetic (Author)
7.36 Jo-Jo tanks form part of the building aesthetic (Author)
XVII
7.37 Solar panels form part of the building aesthetic (Author)
7.38 A variety of materials are used throughout the school (Author)
7.41 Local materials and methods of construction are used (Author)
7.42 Rooflevel changes break down the scale of the building (Author)
7.43 Textural changes in the floorscape are lacking in the design (Author)
7.44 Colour stimulates the sense of sight (Author)
7.45 Wall art stimulates the sense of sight (Author)
7.46 Art work done by children in the school is on permanent display (Author)
7.47 Landscaping could transform the play area into a more stimulating environment as well as provide
natural shading (Author)
7.48 The GradeR- Grade 2 play area is lacking in play opportunities, variety and versatility (Author)
7.49 Curved ablution block of Shayamoya Community Centre (East Coast Architects, 2011)
7.50 Circular kindergarten playroom (East Coast Architects, 2011)
7.51 Interior view of the preschool classroom showing colour themes (East Coast Architects, 2011)
7.52 Many Jo-Jo tanks are used to store rainwater (East Coast Architects, 2011)
7.53 Jo-Jo tanks form an architectural feature (East Coast Architects, 2011)
xvii
PART ONE
BACKGROUND RESEARCH ON ISSUES

CHAPTER !
INTRODUCTION
1
1.1 INTRODUCTION
Space is a continuous sensory experience. The bodily experience of a space influences

one's perception of that space. Humans rely on their sensory modes to better understand,
identify with and engage with their surroundings.
Regrettably, many architects today view buildings as visual entities, meeting the demands
of functional criteria. There is opportunity, and a need, for designers and architects to
create environments that are not only purely functional and pleasing to the eye, but
complete bodily experiences, converting spaces into places that are memorable and
meaningful, for those that interact with them.
While one is aware that all human beings are influenced by the places they occupy, this is
heightened in the lives of children. Studies show that children are acutely influenced by
and sensitive to their environments. Basic research in environmental psychology
confirms that places are fundamental to children's developing identity and perception of
themselves. Their view and understanding of the world, which takes place primarily
through physical experience, is moulded by the environments they occupy and exist
within. Thus, the spaces children exist within are important in their health and livelihood.
Unfortunately, the importance of the environment to children's development has yet to be

fully integrated into the design of children's spaces. In today' s society, limited access to
safe, umestricted outdoor spaces, combined with the emergence of the media and
computer focussed era, has resulted in greater time spent indoors. At best, these places
where children grow up, play and learn are designed by architects with an adult
orientated mentality. Sometimes, they are places simply left over from the 'adult world.'
These spaces thus become the environments that greatly impact young children.
2
The justification for this study is discussed below:
Much literary information focuses on the visual quality of architecture. An entire book
can consist of a collection of photographs that are intended to depict the total
architectural experience through visual media. There is unfortunately much less emphasis
in literature on the practical experience of architecture. While the sense of sight has been
given preference and is extensively dealt with, there is ignorance in terms of the totality
of the human body in architectural experience. Architects have a unique opportunity to
alter this perception by exploring the experiential qualities of built form, as opposed to a
purely visual, functional approach.
Since it is in an experiential and physical manner in which children engage with their
environments, looking at sensory architecture in terms of children's spaces is appropriate.
One would expect that spaces for children would be designed according to their sensory
and experiential needs. However, it seems that environments for children are being
designed without a thorough understanding of the physical and experiential manner with
which children interact, respond to and learn from their environments. This disregard has
a vast impact on the design of children' s spaces and the degree to which they can benefit
from them, or be stifled by them. It is understood in environmental psychology that
environments for children that are void of stimuli cause perceptual and learning deficits
in the developing child (Baird, Lutkus, 1982: 5). Thus, the motivation for a study such as
this is evident as many children in today' s society are spending much time in
impoverished environments.
An understanding of the way in which children learn through hands-on, bodily

experience of space, will influence and alter the way in which future children' s spaces are
designed. Understanding the role of sensory stimulation in architecture and its benefits to
users, as well as how this can be incorporated into children's spaces, could greatly aid the
developing child and ensure spaces created are well loved and used by all.
3
1.2 DEFINITION OF THE PROBLEM, AIMS AND OBJECTIVES
The research problem is defined as follows:
While performing many roles, one of the fundamental functions of architecture is to

house, shelter and protect people from the elements. People have physical bodies,
emotions and souls that are affected by the environments they occupy. Since the
emergence of the modem era in architecture, designers seem to have shifted their focus
on to the purely functional and visual quality of the built environment. Contemporary
architecture has largely become focussed on external fa~ades, pushing boundaries and
challenging technology. Such an architectural view does little to enhance the physical,
social and psychological experience of the user. While multisensory architecture is still a
relatively new concept, it is beginning to be seen in a number of international examples,
recently designed. Architects such as Peter Zumthor (2006), Steven Holl (2007) and
Juhani Pallasmaa (1996) are a number of architects who have also published current
literature on the subject. Unfortunately, this is not the case locally. The lack of both local
literature on the subject and built examples of multisensory architecture in South Africa,
and particularly Durban, is evidence of this.
As mentioned previously, children are widely affected by their environments. Currently

less time is being spent in the naturally beneficial outdoors and more time indoors, in
spaces that have not been optimally designed according to their needs, and the manner in
which they experience, interpret and develop within space. This is partly due to a lack of
understanding of children's engagement with spaces, and the way they develop within
them. Teachers, caregivers, children's specialists and architects involved in the design of
spaces for children, are unaware of the vast difference between spaces for adults and
those ideal for children. There is a need for better communication between designers and
those involved with children which could be beneficial in creating more appropriate
environments. Often, the same principles and architectural approaches are applied to the
design of environments for children and adults, even though they should be vastly
disparate. The result of this is the creation of inadequate environments that do little to
4
improve the lives and learning opportunities of children that use them. This impacts their
development into adulthood and ultimately on the future society they will be part of.
In a local context, this lack of understanding is openly evident in Umlazi. Even though
numerous schools are provided to accommodate the large amount of children in the area,
very few are specifically designed according to children's experience or help improve
children's learning and growth. The need for facilities to accommodate children below
formal schooling age is further evidence of the lack of knowledge regarding children's
development, as it is in these years that children undergo much growth and maturity.
The intended aims of the research follow:
• To investigate the benefits of a more appropriate approach to the built

environment that views architecture as a holistic bodily experience, stimulating
multiple sensory modes simultaneously.
• The intention is to look specifically at how this approach can be applied to the
design of children's spaces, thereby enhancing their experience of space and the
capability to enjoy, interact with and develop within them.
The intended objectives of the research follow:
In achieving the aims defmed above, the objectives of this dissertation are as follows:
• To establish the definition of multisensory architecture and its benefit to the
human experience of architectural space identified.
• To study architectural theories and architects' projects which will reflect how the
concept of sensory architecture has been applied and expressed in the built
environment.
• To gain an understanding of children's spatial experience and the psychological
impact of places is to be gained.
5
• To use such knowledge to enable guidelines to be established for designing spaces
that incorporate the multisensory concept, specifically for children.
1.3 SETTING OUT THE SCOPE
In order to defme the scope of the research problem, the argument will be limited to the
following points discussed below:
Modern research has identified numerous senses in addition to those five commonly
known; sight, hearing, touch, taste and smell. Examples of these are: balance and
acceleration, temperature, kinaesthetic sense, emotion, pain and direction. However, for
the purpose of limiting this research to enable a more thorough and accurate investigation
to emerge, the study will focus predominantly on the five common senses, although,
where deemed appropriate, the haptic sense and kinaesthetic sense will be considered as
well. These are relevant to the sensory experience in terms of movement through
architectural space.
Sensory stimulation is beneficial for all in different ways. While one could incorporate
the visually impaired, deaf and mentally disabled or other sensory disabled users as well
as disabled children into the discussion, this dissertation will specifically look into the
role of sensory stimulation on the everyday building user, uninhibited by disability.
Multisensory architecture has an insurmountable nwnber of benefits and can alter the
human experience of space in many different ways. As it is not possible for the study of
this nature to delve into each of these, six key aspects form the focus of this section of
study in order to create a concise argument of depth. These are; the experience of the
body, the importance of tactility, memory in architecture, identity within spaces, spirit of
place and built form as a sensory stimulus.
6
Referring to 'children' is a very broad term and can refer to any young person, from
infant to teenager. While sensory stimulation impacts all children in various ways as they
age and mature, this dissertation is focussed primarily on children under twelve years of
age. This age group is selected as they form the sector which engages with the
environment on a primarily physical and experiential manner.
According to the expectations of society on acceptable gender role behaviour, the gender
of a child influences his or her engagement with the environment. While gender may also
determine certain geneti~ traits significant to environmental experience, for the purpose
of this study, these differences are to be assumed as negligible and will not form part of
the discussion. The same assumptions are to be of cultural differences. While such
differences could alter the experience of a child, this dissertation assumes these
differences to be minimal in order to come to a more holistic and general understanding.
Terms used within this dissertation are defmed below:
Aural: Of, relating to, or perceived by the ear.
Body I Bodily Experience: The experience of a space perceived first hand through the
body itself.
Gross I Fine Motor skills: The abilities required in order to control the large and small
muscles of the body for physical activities.
Haptic: Of, or relating to, or proceeding from the sense of touch.
Kinaesthetic: Perception through the sense of touch and movement.
Ocular-centrism: The privileging and pre-occupation with the 'eye' or vision.
7
Olfactory: Of, relating to, or contributing to the sense of smell.
Senses: Any of the faculties, such as sight, hearing, smell, taste, or touch, by which
humans and animals perceive stimuli originating from outside or inside the body.
Sensory impairment Individual's inability to accurately interpret an outside source or

stimuli.
Sensory stimulation: Arousal of the brain through any of the sensory modes.
Tactile: Perceptible to the sense of touch; tangible.
Visual: Of, or relating to the sense of sight.
In order to clarify and better define the research intention, a number of assumptions are to
be stated.
The primary assumption to be made is that the built environment influences people. Its
effects are physical, emotional and spiritual and are experienced by all building users.
One must assume that for the purpose of this study, users ofthe built environment studied
are not inhibited in the use of any of their senses. This is to ensure an equitable basis for
an accurate, comparative investigation to occur.
Those individuals upon which the study is based, or those interviewed, are in no way
influenced in their perception of space through the sensory modes, by cultural, gender,
economic or social differences.
The children studied are not restricted in any way. They are able to understand, learn
within and experience the built environment in a typical and natural manner appropriate
for their age group and maturity level. Furthermore, it is assumed that children's ability to
8
learn and develop the necessary perceptual, motor and cognitive skills is accelerated by
enriched environments.
The key questions the research undertaken is intended to answer are expressed below:
• How is one's understanding and perception of the built environment impacted by

the use of the various sensory modes and is this information being used in
contemporary architecture?
• What are the primary physical and psychological benefits of multisensory

architecture?
• How do children interact with, understand and how are they influenced by the
built environment?
• What is the impact of sensory stimulation on children's place experiences?
• How can architects approach children' s architecture in ways more appropriate for
their needs, wants, and manner in which they engage with spaces?
The hypothesis can be stated as follows:
• Approaching the built environment with a focus on sensory stimulation will

convert spaces into exciting places that have physical and psychological benefits
to its users. These benefits can promote wellbeing and a sense of place within the
user.
• Physical interaction with spaces through the use of multiple sensory modes is an
important means by which children experience spaces, develop within them and
establish a sense of identity with a place.
9
• Children's expenence of space can be enhanced by incorporating sensory
stimulation into the built environment, as it transforms spaces into unique places
that encourage exploration, play, and physical engagement, as well as provide
children with a sense of ownership and self-identity.
1.4 CONCEPTS AND THEORIES
Five concepts and theories have been identified as foundational to this research proposal.
They will provide the framework for the literature review and entire research plan. These
theories are discussed below:
Poststructuralism
Poststructuralism is the term for a theory, or group of theories, that concern the
relationship between humans, the world and the practice of making and reproducing
meanings. Poststructuralists affirm that perception is not primarily a result of the images
one recognises; as much as it is the product of the meaning one learns and reproduces.
Poststructuralism is closely connected to the theory of structuralism which claims that the
true character of things (in this case, architecture and elements ofthe built environment),
does not lie in these things themselves, but rather in the relationships which one builds
between them and the meanings one gives them (Nessbitt, 1996: 450).
Poststructuralism furthers this idea by stating that things do not possess meaning in or of
themselves. It is rather the viewer that imparts meaning to things, thus making them
subjective, as each human perceives according to their own, individual position (Belsey,
2002: 7). This highlights the difference between seeing and perceiving which is relevant
to consider in this dissertation where architectural perception is a focal point. It is
necessary to bear this theory in mind as one progresses through the discourse as the
perception of architecture and way it is experienced can vary according to each user.
10
Thus, each statement made, must be understood as a general supposition, rather than a
finite assertion.
Phenomenology and Existential Space
The phenomenology of architecture looks at architecture from within the consciousness

experiencing it, and seeks the inner language ofbuilding (Pallasmaa, 1996: 450).
Norberg-Schulz, in Genius Loci- Towards a Phenomenology ofArchitecture, deals with

the fundamental need of man to be able to experience the world and environment as
meaningful. For him, this theory describes a methodology for place-making, and
proposes that the existential purpose of architecture is to transform a site into a place and
to uncover the meaning of that place (Norberg-Schulz, 1966: 422).
Within this theory, he looks into the concept of 'Existential Space' which he defines as
the basic relationships between man and his environment. Existential space focuses on
the character of space as it exists and it is that which enables one to orientate oneself
within a space and identify with it. Both orientation and identification are necessary for
man to dwell within a space and experience that space as meaningful (Norberg-Schulz,
1979). Pallasmaa (1996) furthers this concept by stating that:
"Architecture strengthens the existential experience, one's sense of

being in the world, and this is essentially a strengthened experience of
self'
(Pallasmaa, 1996: 41).
11
Perception Theory
As perception is often related to one's emotions and senses, it is difficult to determine

how one will perceive the surroundings. Thus, perception is often referred to as irrational
and subjective (Schaap, 2010). According to van Kreij's thesis, sensory perception of
architecture consists of three major concepts: hapticity, kinesthesia and synaesthesia (van
Kreij, 2008). For this dissertation it is important to look at all three, as together they
define a more constructive view on how humans perceive architecture.
Hapticity is closely related to the sense of touch; however, the haptic refers more to a
three-dimensional understanding of the environment. As Gibson (1966: 102) understands
it, while the sense of touch gains knowledge regarding the two dimensionality of forms
and the patterns they possess and impart on the skin, the haptic system gains information
concerning all three dimensions of forms. One's sense of depth, perceived through the
sense of sight, is verified by hapticity.
Kinesthesia is a concept referring to the exploration of the environment through

movement, either by the eyes or body. By active exploration of the environment, a direct
relationship develops between touch and movement and therefore hapticity as well. This
makes kinesthesia important for architecture as moving though spaces with the body or
just the eyes makes one experience architecture in a less static way. If taken into account
in the design process, it is possible to generate a multi-layered architectural experience
(Schaap, 2010).
Synaesthesia refers to the phenomenon that transfers sensory information from one sense
to the other. It is often seen as a combination of all the input from the senses in the mind.
Vodvarka and Malnar (2004) believe synaesthesia to be ''the stimulation of one's sensory
modality reliably caus[ing] an involuntary perception in another modality" (Vodvarka
and Malnar in van Kreij, 2008: 31 ). An example of this can be understood in the way one
views the lines in woodwork as being warm, while steel engraving are perceived as cold
lines.
12
Synaesthesia thus becomes an integral part to life, g1vmg sustainable meaning to
experience. Van Kreij (2008) goes so far as to conclude that the synaesthetic
characteristics of materials are of more importance in one's perception than the acts of
seeing, hearing, tasting and touching.
Imageability
The writings of Kevin Lynch explore the way in which the environment is perceived by
individuals moving through it. The word perception means to identify, or understand,
rather than to see. In this he suggests that almost every sense is used when experiencing
and moving through an environment.
The ability to navigate through spaces offers one a sense of security, identity, direction
and control over a space. Lynch (1960) refers to this ease with which a place can be
mentally represented as 'imageabiliti. He defines it as:
"... that quality in a physical object which gives it a high probability of

evoking a strong image in any given observer"
(Lynch, 1960: 9).
To heighten the imageability of the urban environment is to engage in the making of

vividly identified, powerfully structured and highly useful mental images of the
environment. The theory of imageability is thus relevant to this study as often the most
powerful or 'imageable, spaces are those that are not merely viewed, but rather
holistically experienced through multiple sensory modes.
The Spirit of Place
Christopher Day, in his book 'Places of the Soul' speaks of the necessity for healing in
architecture. Here he emphasizes the importance of the intangible, yet perceptible 'spirit
13
of place'. According to Norberg-Schulz (1979: 5), "a place is a space which has a distinct
character." It is through the use of one's senses that the spirit of a place is formed in
one's mind. Used simultaneously, the senses evoke a picture of reality never adequately
described by an individual sense. It is this reality which is called the 'spirit of a place',
and is the quality of the environment that affects one emotionally (Day, 1990: 21 ).
1.5 RESEARCH METHODS AND MATERIALS
There are two components that constitute the research methods and materials employed
in this dissertation. Firstly, primary research is used to gather information by means of
relevant interviews and case studies. Secondary research forms the second component.
This involves an extensive review of literature regarding the subject matter. Due to the
nature of the topic, the research is both qualitative and quantitative.
Primary Research
First hand documentation is gathered through a series of focussed interviews with

practicing professionals in the field of architectural design. Their expertise, opinions and
practical knowledge regarding architecture as a bodily experience involving multiple
senses is required as part of a conclusive discussion. Practicing architects are to be
questioned on their understanding of multisensory architecture, whether they feel much
contemporary architecture lacks interest and sensory stimulus and how and if they have
incotporated this concept into their current work. Due to the nature of the topic,
structured interviews are to be used to enable comparisons and accurate conclusions to be
drawn. Interviewees will be able to divert the discussion where deemed relevant and
encouraged to elaborate. Interviews are to be particularly useful in the discussion of
children's development and the importance of sensory stimulation. Occupational
therapists dealing with children, teachers of young children and specialists in children's
14
development will provide up to date, practical insight into the importance and role of the
built environment on young children's developmental growth.
Case studies form the second component of primary research undertaken for this
dissertation. This involves visiting, measuring, photographing and critically assessing
buildings or spaces relevant to this study. Working drawings are to be obtained and
analysed with conclusions being supported by personally produced graphic and
photographic data. Within these spaces, the way in which children use the built
environment and preferential treatment they give to certain spaces will be observed and
recorded.
Secondary Research
Secondary information forms the foundation for the research in sensory stimulation as an
architectural design tool. This information is found through research obtained from a
literature review of the existing body of knowledge, in the form of books, journals,
articles, and electronic sources such as the internet, e-books and e-joumals. The research
covers the psychology of the senses and their use within the built environment, i.e. how
sensory stimulation affects one's perception and its benefits to the experience of space.
The research then focuses on the psychology of children and the impact of sensory
stimulation on their spatial experience and developmental growth.
A critical analysis of this literature provides the framework and criteria by which case
studies and precedent studies are to be analysed.
Precedent studies are a further aspect of secondary research. A number of international

and some local building examples are identified as relevant to the subject matter and
analysed through photographs, architectural drawings and text media. The study of
various precedents is to provide practical insight into the existing theories on sensory
stimulation as an architectural design tool as they are seen in the built environment.
15
The data obtained from this research document is intended to inform the design of a
Children's Learning Centre in Umlazi. The focus of the research emerges in the
building's conceptualisation as a sensory stimulating environment, its planning, material
selection and detailing, as well as various other design elements informed by this study.
1.6 CONTRffiUTION TO KNOWLEDGE
The purpose of this dissertation is to contribute towards the body of literature regarding
sensory stimulation as an architectural design tool. Architecture is to be explored as a
sensory experience and insight is to be provided into the role of the senses in interpreting
the built environment, beyond the purely visual sensory mode. A contribution is to be
made regarding the benefits of multisensory architecture and how designers can address
all the senses through architectural design.
The study is to further contribute towards an understanding of the manner in which

children perceive and interact with their environment, and the role of sensory stimulation
in their developmental growth. A new approach to the design of spaces for children is to
be explored, showing how sensory stimulation can be implemented into the design
process.
1.7 CONCLUSION
Architecture is the art and science of building. It is the built environment one fmds
oneself inhabiting daily. Its purpose is to house and enclose people, to provide shelter and
a structured environment. It is that which defines and confines space for the human body
to occupy. Individuals are the primary client; yet, in much of the architecture today there
is a disappearance of its physical, sensual and embodied essence - those things that relate
to one's humanness. The built environment has been reduced to a purely visual
experience, to be seen from afar but not touched, smelt, tasted or heard.
16
Designers today have the responsibility to re-establish the role of architecture in society
as a place for people. There is opportunity to bring 'hwnanity' back into the design of
spaces for people. According to Bobrova (1990: 32), architecture can only be truly
human if it is 'of a design so as to be perceived by the whole complex of sensory organs
of man.' It is when one approaches architectural design as a full bodied, sensory
experience that designers can achieve an engaging environment that is a complete, hwnan
experience. One that remains part of one's memory long after the visual image has been
forgotten.
More specifically, when one approaches the design of spaces for children with this same
multi-sensory experience in mind, there is opportunity to establish a built environment
that is better suited for children and the way they perceive, interact with and learn from
space. It is up to designers and planners to ensure that children and their needs are not
forgotten in the construction of the built environment as, ultimately, they are the leaders
and society of tomorrow.
The following chapters provide a review of existing literature pertinent to the topic of
sensory stimulation as an architectural design tool. The research presented here is
grounded on the fundamental concepts and theories discussed, and strives to draw closer
to answering the key questions stated. In doing so, it is anticipated that one will gain
insight into an approach to the built environment that views architecture as a holistic
bodily experience, stimulating multiple sensory modes simultaneously. Furthermore, it is
expected that the following literature review will reveal how this approach can benefit the
design of children's spaces by enhancing their experience of space and ability to
understand, interact with and develop within them.
The review of literature begins by looking into the psychology of the senses. In Chapter
2, contemporary architecture is revealed as predominantly visual and the course that has
led to this is shown in the discussion of Modernism. Reasons are presented for the need
to reinvent architecture, and the contrasting opinion that views the senses as integral to
architectural perception, is discussed.
17
The treatise then progresses, in Chapter 3, towards looking into architecture and the
senses. Highlighted in this chapter is the experience of the body, the importance of
tactility, the impact of sensory architecture on memory and identity, as well as the spirit
of place. The intention is to establish the importance of sensory stimulation in
architectural perception and how it affects and enhances the experience of users while
they are in the building, and after they have left. This chapter concludes on a more
practical level by looking into built form as a sensory stimulant.
Children and their environments are subsequently discussed in Chapter 4. In order to

establish a renewed approach to architecture for children, it is necessary to understand the
way they interact with the built environment and how they are impacted by it. This
discussion aims to do this by looking into the various developmental processes children
undergo and their spatial experience in comparison to adults. The importance of play and
the psychology of the place experience are further elaborated on. The physical and
sensorial aspect of children' s experience and development is highlighted, establishing the
link between architecture for children and multisensory architecture.
The final aspect of the literature review, considered in Chapter 5, focuses on establishing
new guidelines to the approach of architecture for children which reflects the significance
of ensuring spaces for children are sensory stimulating. The Reggio Emilia theory of
education forms the framework for this discussion. Within this theory, three major
approaches are highlighted. Firstly, variety in architecture, spaces provided and elements
within those spaces are found to be important. Secondly, to look at nature for inspiration
in the design process, as it is a natural stimulator and place which children are drawn to,
is of value. Thirdly, viewing the built environment as a teacher can assist children's
development by engaging their sense of exploration and encouraging questions to be
asked.
Following on from this point, the approach to architecture as a sensory stimulator is seen
evident in contemporary built form, examined in chapter 6. This is done by looking at a
number of building examples from across the world. These buildings are examined in
18
terms of the theoretical framework set in the literature review and practically reflect the
importance and benefits of multisensory architecture, as well as how it can be achieved.
The discourse then concludes by focussing on the context of Kwa-Zulu Natal and
illustrating the regional response to sensory stimulation as a tool in the design of
children's spaces. In Chapter 7, the empirical studies conducted of two local schools
demonstrate if and how the theoretical discussion is evident in the current South African
context. Based on the fmdings, conclusions are drawn and recommendations made that
would aid the future design of learning spaces for children in South Africa.
19
CHAPTER2
PSYCHOLOGY OF THE SENSES
20
INTRODUCTION
In order for this study to be well grounded and provide genuine insight into the role of
sensory stimulation in one's interpretation, understanding of spaces and its application to
architectural design, it is necessary to frrst gain some background information regarding
the aforementioned topic. Chapter two intends to do this by looking into the role of
architecture in today's society as a purely visual art. A brief study of the modern
movement in architecture is to provide reasoning and explanation for this new approach
to architecture. This approach is then critically analysed and the study investigates the
role of the various senses in one's interaction and engagement with the built world.
2.1 CONTEMPORARY ARCHITECTURE AS A VISUAL ART
Throughout much of history, seeing has been over-emphasised as the primary sensual
activity in Western architecture. The outside or visual perspective in architecture has
taken precedence over all other means of architectural perception. Far more importance
has seemingly been given to the outward appearance, concept and intellectual aspects of
architecture, rather than to the buildings' users, the way in which they occupy and live
within space and its embodied experience.
Ever since the time of Classical Greece, art, architecture and aspects of culture has been
based upon vision and visibility. Through a system of optical illusions, the built world
was refined to visual pleasure. Plato regarded vision as humanity's greatest gift and,
similarly, for Aristotle the most noble of the senses was sight.
21
(Fig 2.0: Dlustration showings the use of optical illusions in Greek architecture. Here, a represents the front of a temple
as it should appear; b represents its appearance (exaggerated) if it were actually built like a without compensations for
optical illusions; c represents it as built and showing the physical corrections (exaggerated) in order that it may appear
to the eye as a does. Source: www.visualillusion.net)
Contemporary culture has shifted towards a distancing and de-sensitization of the human
experience to reality. The senses of touch, taste, hearing and smell call for closer contact
or physical interaction, and as such, have been denied acknowledgment (Franck, 2007:
20-21). As noted by Pallasmaa (2005), this objectivity and limited interaction are
favoured over sensuality and engagement with the world. This detached view is also
evident in the loss of sensuality of contemporary art works, which has evolved in a
similar manner to the architectural movements. Rather than engaging with one's sensory
modes, these pieces "frequently signal a distancing rejection of sensuous curiosity and
pleasure" (Pallasmaa, 2005: 34). This view is supported by Norberg-Schulz (1965) when
he states that modern art and architecture are undermining humanity and destroying basic
artistic principles (Norberg-Schulz, 1965: 20).
(Plate 2.0 & 2.1: The

contrast between
Renaissance art and
Contemporary art is
evident in a comparison
between Rembrandt's
Bathsheba aJ her Bath
(right) and Andy
Warhol 's Campbell's
Soup Can (left).
Source:
www.allartclassic.com;
www.artofcolour.com)
22
As architecture has evolved from this vision-focussed society and increasingly digitalised
world, instead of being a multi-faceted and layered object, it has been reduced to a single
layer of vision. Even though, structures generated within this ideology have been
provocative, forward-thinking and challenging the boundaries of design, it is necessary to
recognise how such an architectural approach does not aid the human existential
experience of the world (Pallasmaa, 2005: 19).
According to Pallasmaa:
"Instead of an existentially grounded plastic and spatial experience,

architecture has adopted the psychological strategy of advertising and
instant persuasion; buildings have turned into image products detached
from existential depth and sincerity"
The architectural model that has resulted from this approach is experientially imbalanced
and limiting in one's engagement with the built environment. To reduce the significance
of the body's internal values, its needs and desires, is to lessen one's opportunity to make
responses that reminds one of their sense of self (Bloomer and Moore, 1977: 49).
The efforts of Bloomer and Moore (1977) to teach architectural design to first year
students at Yale University is discussed in the book "Body, Memory and Architecture". In
it they consider the powerful presuppositions they faced regarding the definition of
architecture in the minds of their students. fu discussions with the learners, seldom was
reference made to ''unique perceptual and emotional capacities" of the human being. The
general assumption is that architecture is a specialised system with a set of prescribed
technical goals rather than a 'sensual social art, responsive to real human desires and
feelings' . Two dimensional drawings are relied upon with little acknowledgement of their
three dimensional qualities and architectural experience as a whole. It is characterised by
its impact on the sense of sight, rather than on the holistic perception of the body
(Bloomer, Moore, 1977: ix).
23
Ln more recent times, similar methods of design were found by Karen Franck in her
dealings with schools of architecture. In her opinion, there is a neglect of human
experiential issues and activity within spaces while formal issues are stressed and
pursued. Aspects of architecture that bring life to buildings and affect the human
experience, such as furniture, lighting and materials are abandoned.
"So much of the stuff of life, indeed the stuff of architecture, is given
cursory attention while a more abstract approach to design is pursued
and celebrated''
(Franck, 2007: 12).
It is of little wonder that one's experience of architecture and the built environment is so
void of sensation, sentiment and true engagement. Environments have been created in the
same way society today interacts with matter, people and space. One is encouraged to
observe, but not to feel. Through a sensory and psychological detachment created
between built environments and the human being, a sense of disconnection and isolation
is produced (Pallasmaa, 2005, in Franck, 2007: 27).
In order to fully understand this loss of humanity within the built environment today, it is
necessary to look to the past. To identify the path forward, an examination of events and
ideals that have led to the present is an understandable first step.
2.2 THE MODERN DESIGN APPROACH
For centuries there has been an underlying conflict regarding architectural beauty.
"Before Galileo, one can imagine an architecture that celebrated the human body, and
gave it a sacred authority governing construction" (B Ioomer, Moore, 1977: 15).
24
The Vitruvian man, which describes the geometric proportions of the human figure, was
an inspiration for artists and architects during the fifteenth century. It was thought to
provide the source of perfect proportion and
composition during the early ages, particularly
during the Renaissance period. In basing
architecture and art on the principles on
hwnan proportion and composition, the
hwnanity and beauty based on human form is
evident.
(Plate 2.2: Marcus Vitruvius Pollio's Vitruvian Man. Source:

www. wikipedia.org)
Following this principle of architecture that

celebrates the human body, and is designed
according to it, one can see that the floor plan of
the Chartres Cathedral in France is derived from
the crucifix position of the human body.
Harmonious and symmetrical proportions, in
keeping with the human form, were fundamental
design criteria throughout.
(Fig 2.1 : The crucifix is superimposed over the floor plan of the
Chartres Cathedral. Source: www.sacred-destinations.com)
However, since this era, numerous debates have arisen as to whether a building is
'beautiful' because of its ornament and proportions, or because of other more functional
criteria (Bloomer and Moore, 1977: 17).
25
With the advent of the machine age and industrialisation, theories regarding functionality,
mathematical proportion and scientific rules became the basis from which architectural
beauty was approached. A fundamental distinction became evident between an attitude
that treats architecture as an applied science and one which treats it as a more holistic art
(Bloomer and Moore, 1977: 21).
The John Hopkins Hospital designed by John Rudolph Niemsee 1885, shows evidence of
how buildings were no longer designed after the human body, but rather after a machine
metaphor.
(Plate 2.3: The John

Hopkins Hospital.
Source: Bloomer,
Moore, 1977: 16)
(Plate 2.4: The

Haviland
Penitentiary in
Philadelphia.
Source: Bloomer,
Moore, 1977: 16)
Similarly, the importance of functionality can be seen in the Haviland Penitentiary in

Philadelphia, designed by John Haviland in 1829 [plate 2.4]. The building was designed
for the sole purpose of creating effective surveillance of prisoners.
26
This struggle to establish new regulations and laws that would determine all elements and
aspects of architecture was the generating force in the institution of modern architectural
thought (Bloomer, Moore, 1977: 21). This movement in architecture saw a global
uniformity, a 'pure reality' with completely new aesthetics stripped of all picturesque,
associative or historicist tendencies. 'Clarity of form', 'purity of surface,' 'balanced
asymmetry' and 'mass production' are all phrases commonly associated with the design
of modern architecture (Gympel, 1996). Many of these can still be applied to current
building practices today.
The National Museum [Plate 2.5] portrays the essence of modernism and brutalism.
Designed by Denys Lasdun and opened in 1979, the raw concrete structure is harsh and
severe. While being well proportioned and composed, the building is reminiscent of an
industrial plant. The stark, austere finish does little to engage multiple senses or enhance
the experience of the user. The focus of the architecture has, like much modern
architecture, remained solely on the visual qualities, at the expense of all other means of
perception and
experience.
(Plate 2.5: The National

Theatre (opened in 1976) by
Denys Lasdun demonstrates
the principals of modem
architecture. Source:
glasspilgrim.blogspot.com)
The lack of human recognition in such a design approach is to be noted In this modem
movement in architecture, the process of design occurs foremost externally. Forms are
composed by looking at the building from all angles, with the visual qualities and
discernment of the eyes dictating the fmal product. Even the expression of architectural
ideas comes in the form of models and drawings, which are intended to be seen but not
occupied. And so the architect adopts the position of an observer, rather than occupant
(Franck, 2007: 22).
27
In the writings of modernists, evidence of the dominance of this visual sense features
strongly. Statements by Le Corbusier, such as: "I exist in life only if I can see," and, "one
needs to see clearly in order to understand," express the hierarchy and preferential
treatment given to this singular sensory mode (Le Corbusier, 1991, in Pallasmaa, 2005:
27).
While this visual quality is important, many modernist theories dictate an over-emphasis
on this single building quality at the expense of all others. Buildings were designed to be
viewed and appreciated by the eye, but not dwelt within. Modernist design feeds the
intellect and the sense of sight but has disregarded the other senses of the human body, as
well as one's memories, dreams and imagination (Pallasmaa, 2005: 19).
Thankfully, as architecture has evolved from this modem era, so have the ideals and
foundations upon which designs are generated. However, a common thread throughout
the following movements can still be seen in the suppression of the humane aspect of the
architecture.
2.3 THE NEED FOR REINVENTION
As previously stated, for this study to be of any relevance, the assumption must be made
that the built environment influences people both physically and emotionally. As such,
architects and planners illustrate their values in relation to human beings in the way they
design and influence the built environment (Lepori, 2007: 5). In the industry today, the
incomplete approach to design, having risen from modem ideals and an ocular-centric
culture, is based on:
"market values, abstract personal criteria, technical standards and

mechanical reproduction of repetitive types - an approach to design
that lacks concern for human, physical and emotional values as well as
28
an awareness of the basic universal principles that help harmony and
beauty to be defined and sustained''
(Franck and Lepori, 2007: 6).
It is necessary to challenge the abstract architectural approach dominated by the ocular-

centric society today as well as the over-emphasis on the intellectual and conceptual
dimensions of architecture. It is this that has led to the disappearance of architecture's
material, sensual and embodied essence (Pallasmaa, 2005: 32). As human beings, we
have become spectators rather than participants in our perceptions of the environments
we occupy, purely looking at the visual image projected on to the retina. Consequently,
this has produced a sense of detachment from one's surroundings, leading to feelings of
alienation and isolation.
Alternatively, architecture is something to be experienced. According to Zumthor (2006:

58), to experience architecture in a real and meaningful way, one must touch it, see it,
smell it and hear it. There is opportunity for it to be reinvented to ensure we do not grow
accustomed to or become trapped within old patterns and methods of design that do little
to uplift our beings. As Galen Cranz teaches, "even chairs need to be reinvented to suit
our bodies. And the reinvention starts with ourselves and the way we are built" (Cranz,
1998 in Lepori, 2007: 15).
Lepori (2007: 16), in discussing an architectural approach that begins with the human
body as the design generator, is of the opinion that in order to progress in architectural
thought, designers need to firstly understand the human being and the needs, wants and
desires they possess. It is only in doing this that architecture can transform spaces into
places that fit the client, rather than forcing users to adapt to unsuitable spaces created for
them.
In order to stop the alienation of architecture and reintegrate the human being into the
built environment, designers ought to strive towards a higher awareness of multisensory
perception in architecture today. By understanding the human being and spirit, designers
29
would better be able to convert the architecture of the future to something experientially
complete, satisfying the needs of the users and creating places that uplift the human spirit
in their experience. The use of the sensory perceptions in architectural experience is such
an avenue requiring attention from architects today. This is subsequently discussed.
2.4 THE USE OF THE SENSORY SYSTEMS IN THE EXPERIENCE OF

ARCHITECTURE
To move away from this predominantly vision-focussed approach to architectural design

to a more body-centred, holistic approach that aims to positively contribute to the human
experience of space, it is necessary to understand the way human beings interact with and
experience the built environment.
According to Pallasmaa (2005), meaningful architecture engages the inhabitant on a

largely physical level and employs multiple senses simultaneously.
"Every touching experience ofarchitecture is multisensory; qualities of

space, matter and scale are measured equally by the eye, ear, nose,
skin, tongue, skeleton and muscle.... Architecture involves several
realms ofsensory experience which interact and infuse into each other"
Since it is evident from this theory of architecture that the built environment is perceived
and evaluated through the bodily experience of it, an inquiry into the role of the
individual senses within our architectural experience may provide a clearer understanding
of the way in which architecture is experienced. In looking at sensory stimulation as an
architectural design tool, it is necessary to take into account the use of these senses within
the built environment and how they impact one's perception of the built world. The five
most common senses of sight, touch, sound, smell and taste are used in varying degrees
and even subconsciously. Below, these are discussed in greater detail.
30
The Sense of Sight
One's eyesight is the sense most relied upon. It enables one to comprehend images near
and far. "Our eyes reflect the environment back to us" (Walden, 2008: 16). It is through
vision that we see the nature of objects, their form, mass, texture and colour. While the
sense of sight is important in the study of sensory stimulation as an architectural design
tool, the focus of this review of literature is to fall predominantly on the other sensory
modes that have been neglected in our understanding of architectural experience.
However, in a discussion related to the importance and use of sight within one's
understanding of the built environment, one needs to note a difference between seeing
and perceiving. Often one does not see what is in front of them, but rather what one
expects to find there. Von Meiss (1990) believes that today's society needs these
expectations because the world is in a state of constant change. Intelligence has no hold
on reality and so one is continually expecting the unexpected. Thus, it is often in
perception rather than vision that one's sense of sight fails. Consequently, the importance
of the other, less wavering senses becomes critical in interpreting the surroundings.
The Sense of Touch
The senses of sight and touch are intrinsically connected. The sense of touch is stimulated
and encouraged by one's ability to see forms and textures. Often it is not enough to look
and the hand is invited to directly experience. The skin reads the texture, weight, density
and temperature of matter (Pallasmaa, 2005: 56).
Pallasmaa (2005: 56) uses the touch of a door handle to illustrate the importance of
personal connection with buildings. He refers to the door handle as the handshake of a
building.
"The tactile sense connects us with time and tradition: through

impressions of touch we shake the hands of countless generations. "
31
Franck (2007: 59) reiterates this notion of touch in the feeling of a banister. The design of
a wooden banister that fills up the grip of the hand is a completely different experience to
a steel one that is cold and lifeless to the touch. The ability of the hand to move smoothly
along or whether there are interruptions at certain points affects the experience of the
user.
(Plate 2.6 & 2.7: The use of the sense

of touch is illustrated in the difference
in balustrades above.
Source: www.builderbill-diy-help.com;
www.ipmfittings.co.uk)
It is generally assumed that texture only offers information at arm's length; however, the
'feer of a building is often seen by the eyes and yet experienced as though it has been
touched first hand. In many cases, it is this unconscious tactile sensation that determines
the pleasantness of the experience.
In a discussion related to the experience of touch, it is necessary to further explain the

exploratory use of touch, referred to by psychologists as 'haptic perception.' In addition
to the brief theoretical understanding previously discussed, the Haptic System is the sense
of touch reconsidered to include the entire body, rather than just the instruments of touch,
e.g. hands or feet. The haptic system includes all the sensations that constitute the sense
of touch (e.g. pressure, warmth, pain etc ... ) and all aspects of sensual detection which
involve physical contact both inside and outside the body. The haptic sense engages in
sensation and action simultaneously and deals most directly with the three dimensional
world (Bloomer and Moore: 1977: 35).
32
The Sense of Sound
Hearing is one of the most important senses, because a great deal of information about
the world comes to us from sound alone. Cars approaching from behind, a ringing phone
and most importantly, human speech, are all perceived through the sense of hearing. One
is put in direct contact with space through sounds that reverberate from surrounding
wa11s. "Sound measures space and makes its scale comprehensible" (Pallasmaa, 2005:
51). In the same way that light reflects off surfaces, giving one an impression of its form
and substance, so too are we given an impression of the form and substance of space by
the sounds it reflects. Differently shaped rooms and spaces composed of different
materials reverberate differently, thus influencing the sounds generated within them
(Rassmussen, 1959: 224).
The sound of a space is rarely consciously noted by building users. However, it is highly
informative, offering clues to building users regarding activities near and far. The sound
of a room can have a great impact on the mood of a space; and should be properly
thought out as it can affect the experience had within.
For example; a busy restaurant with hard surfaces will create greater sound reflection,
making conversation more difficult. If sound is completely absorbed it can feel flat and
lifeless; while if sound resonates or echoes, the mood can become sharp and anxious. In
Warren Brodey's experience with blind people (1965), he has found that different sound
qualities can create different moods. These moods would be appreciated by the visually
impaired as well as unimpaired users and is thus worthwhile to note in this study. A space
with hard-plastered block walls accentuates higher tones, making users sound as though
they were speaking sharply, and therefore, increasing fatigue. An acoustically considered
space with soft surfaces, such as carpet, becomes what Brodey refers to as 'wet-
blanketed.' This is where any noise within a space is dampened (Brodey, 1965 in
Walden, 2008: 18).
33
Mono-pitch ceiling Corave ceiling
(Fig 2.2: Reflections of sound off various

surfaces create different acoustic experiences.
Source: Egan, 1988 in Walden, 2008: 19)
Double-pitch ceiling
While one may not view acoustic architecture as being important in our perception and
experience of space because it is not consciously recognised, one must be aware that
buildings return sound to us, structuring and articulating our understanding and
appreciation of space. A space is understood and appreciated through the sounds it
returns to us as much as through its visual form, even though the acoustic influences on
one's place experience is primarily an unconscious background experience (Pallasmaa,
2005: 50).
The Sense of Smell
According to Filler (1978: 4), accommodating the sense of smell in architectural

experience is possibly the most neglected of all the sensory modes of perception in
today's society.
Interestingly however, humans require only a few molecules of a substance to prompt an

impulse of smell in a nerve ending and have the ability to identify over ten thousand
34
diverse odours (Pallasmaa, 2005: 54). Even so, the olfactory sense is often paid amongst
the least attention in the design of spaces as it is not as widely used as the other, more
dominant senses such as touch and sight.
This is unfortunate as one of the most significant qualities regarding the sense of smell is
its ability to provoke and instil memory in a space. The most persistent memory of a
place one has visited is often recalled by its smell. Every dwelling has an individual smell
of home and a particular smell enables one to ''unknowingly re-enter a space completely
forgotten by the retinal memory" (Pallasmaa, 2005: 54). While the nose makes the eyes
remember visual aspects of a particular place, the eye cannot in the same way recreate the
distinctive smell in an environment. It is thus apparent that reducing the importance of
this sensory experience can limit one's ability to recollect past place experiences.
The Sense of Taste
It is easy to assume that the sense of taste has little or no effect on one' s interpretation
and experience of a space. However, according to Pallasmaa (2005: 59), "there is a subtle
transference between tactile and taste experiences." Vision can be transferred to taste and
various details and hues have the power to induce oral sensations.
The connection between taste and smell must also be mentioned. Gibson (1966)
combines the two into a single sensory system in which neither can be provoked without
the other. His logic in this connection is based on the type of information they receive.
Ultimately, they are both seeking the same information, one by eating solubles and the
other by breathing airborne molecules of solids (Gibson, 1966 in Bloomer and Moore,
1977: 33).
35
2.5 CONCLUSION
Looking specifically at each sensory mode and how it is impacted by the built
environment, it is evident that architecture is much more than a purely visual art. In
understanding where contemporary architecture has originated from and reasons why the
need to reinvent architecture is so urgent, it has become evident that grounding
architectural 'success' on a purely visual level is limiting and prevents architecture from
being experienced in multiple ways through the body. These imposed limitations in
modem architecture thwart one' s ability to truly connect with the environment on a
physical and psychological level. These limitations imposed are more fully exposed as
one understands the role of the various senses and their positive impacts on architectural
experience, i.e. those things one has been denied within the modem movement.
While the exploration into the role of the senses in one's understanding and interaction
with space is highly valued, it is important to further understand how such bodily,
sensory experiences of architecture contribute to one's architectural experience;
particularly in terms of personal and cultural memories and identity, as well as the spirit
of place created, which influences the soul. The following chapter seeks to illustrate the
impact of sensory stimulation in architecture on one's physical appreciation of spaces and
its psychological benefits.
36
CHAPTER3
ARCHITECTURE AND THE SENSES
37
INTRODUCTION
Understanding the role of sensory stimulation in the field of architecture is important as

"it is through our senses that we perceive the world; it is through them that a relationship
with the world is made possible" (Franck, 2007: 55).
In recent years, a select few architects and writers in the field have begun looking into a
more sensory approach to architectural design. Fortunately, the Western world is slowly
showing signs of rediscovery of the neglected senses. This emergent awareness expresses
a revolt against the deprived sensory experience humanity has been made to endure in our
technology-focused society of today (Montagu, 1986 in Pallasmaa, 2005: 37).
This chapter seeks to express the importance and benefits of architecture that is not only
pleasing to the eye, but an experience of the body as well. Such benefits are illustrated in
contemporary architectural examples to provide a more thorough investigation. The
discussion begins by presenting a general overview of the bodily experience of
architecture as it is through one's physical being that the world is experienced and a
connection is made. As Rassmussen (1959: 33) said, "it is not enough to see architecture;
you must experience it." Often this is done through the sensory mode of touch, which is
discussed subsequently. Memory, identity and spirit of place are then explored to
illustrate some of the psychological and less obvious contributions made by multi-
sensory architecture to one's spatial experience. The fmal component of this chapter
briefly looks into a sensory approach to built form. It attempts to practically illustrate
architecture and the senses in terms of the exterior formal qualities of architecture and
how this can be achieved.
3.1 THE EXPERIENCE OF THE BODY
In today's design process, the human body is often viewed as a source of measurement,
or form to be merely accommodated. While the basic physical criteria are met, the
38
particular needs, desires and wants of living, by active people, are often considered a
burden on design. The challenge to progress and rethink the design of objects with
people' s comfort in mind is seldom taken on. Forms and materials are rarely chosen to
enhance the body's comfort; instead the body is forced to adapt to rigid forms created for
the convenience of mass production (Franc!4 2007: 27).
One of the reasons for this lack of recognition given to the human experience can be seen
in society's view of the body stemming from the ocular-centric culture of today. The
focus on vision and all that is outside the human body creates a distance between the user
and their body; with its sensations, desires and wants. The body separates itself from
other bodies and the world, and one lives as though 'outside', detached from the world.
Thus, the sense that dominates is vision, since hearing, smelling, and touching requires a
connection with the world; that one be 'inside' (Franck, 2007: 26). The incomplete
manner in which designers create spaces and users experience them that has risen out of
this view is unfortunate, as essentially it is through the body, which we have separated
from the world, that one indeed perceives and truly understands the world.
The experience of space and being within a space is far more than a purely visual
encounter; to be seen but not felt. Instead, it is an intricate and multi-faceted experience
in which the whole of the human being is involved. Bloomer and Moore (1977: Preface)
believe that it is this aspect of architecture, the bodily experience, which generates the
essential and unforgettable understanding of three-dimensionality. This understanding
further provides a platform for understanding one's experience of buildings in term of
spatial feeling.
It is through the movements of the body, posture and activity (kinesthesia) that one
constantly engages with the environment and is redefined by it (Pallasmaa, 2005: 40). It
is with one's physical form that one sees, touches, smells and understands one's
surroundings and through this interaction with the world, one becomes more than purely
within a space, but becomes a part of that space (Franck, 2007: 55).
39
lbis approach to design is evident in The Therme Vals, which is further discussed in
more detail later on. Designed by Peter Zumthor and opened in 1996, it is a hotel and spa
built over the only thermal springs in the Graubiinden Canton in Switzerland. From
concept to fmal fmishes, the building is designed as a complete bodily experience. The
sensory aspects of the building have been considered from the onset and have informed
the building's concept and design. Important to note is how the bodily experience of the
space has been given preference over the visual.
The primary function of the building as a bathing area is a bodily experience in itself and
the architecture reinforces and heightens the experience by appealing to all the senses and
ensuring a complete and holistic experience. There has been a careful selection and use of
elements such as water, light, and materials. Each has been chosen and incorporated
according to the evocative, sensory qualities it holds and used in a manner that enhances
the experience of these elements. The use of and variety of ways these elements are used
is demonstrated in the illustrations following.
(Plate 3.0, 3.1, 3.2: The Therme Vals provides a wide range of bodily experiences. All aspects of the architecture are
intended to enhance one's physical experience within the spaces. Source: www.poloralphlaurenstore.com)
Understanding the significance of the bodily experience can be summed up by looking at

observations made by Geoffrey Scott (1914). He explored the distinction between the
"appearance of bigness" and the "feeling of bigness" portrayed by a building. He argues
that while the two may seem to be almost the same, it is only the "feeling of bigness" that
has aesthetic value (Bloomer and Moore, 1977: 32). The beauty and experience a
40
building gives is very different when one is looking at it and when one is within it, as the
whole body is involved in the experience of the space and the feelings it evokes. It is
apparent that he is urging architects and building users alike to be aware that the bodily
experience of architecture contributes to one's aesthetic appreciation of architecture in
conjunction with the visual experience of it (Bloomer and Moore, 1977: 32).
3.2 THE IMPORTANCE OF TACTll.ITY
Juhani Pallasmaa's book entitled ' The Eyes of the Skin: Architecture and the Senses,'
expresses his growing concern for the dominance of vision within the realm of design at
the expense and suppression of the other sensory modes. The focus of his literature
centres on a single component of the bodily experience of architecture, previously
discussed: The importance of the sense of touch in one's experience and understanding of
the world. His further intention was to illustrate the conceptual linkages between the
suppressed tactile sense and the primary visual sense. According to Pallasmaa (2005), all
sensory modes are extensions of the tactile sense.
"the senses are specialisations of skin tissue, and all sensory

experiences are modes of touching and thus related to tactility. [One's]
contact with the world takes place at the boundary line of the self
through specialised parts ofour enveloping membrane "
The fundamental significance of tactility in one's spatial expenence is seen in the

orienting clues it provides, and manner in which it affects the body's fit within and
movement around spaces. The tactile qualities of the surfaces and edges we encounter
influence one' s haptic sense and initiate different movement. Rough textures and
materials suggest one should move in wide radii around corners as well as more
cautiously down passages. Textural variations can prompt users to hasten or slow their
pace of travel or signify particular zones within buildings. According to Bloomer and
41
Moore (1977: 71), through the varied use of textures and tactile qualities, designers
would be able to generate a complete "choreography of movement."
This sensory system is the sense that unifies one's experience of the world with that of
themselves. While the eyes can be engaged at a distance, and are separate from that
which they see, the hand necessitates nearness and entails a certain intimacy with that
which it contacts (Pallasmaa, 2005: 46). This aspect of the sensory mode of touch is
fundamental to the human spatial experience and has been harnessed as a powerful force
in the design of the building examples that follow.
At the de Young Museum in San Francisco and the American Folk Art Museum in New
York, the hand is invited to appreciate its tactile qualities. The hammered coppered
panels of the de Young Museum's fa9ade glimmer and change texture as one passes by.
Each panel differs and engages ones tactile sense as
one approaches the fa9ade.
(Plate 3.3: The ~e treabnent of the de Young Museum invites the

hand to touch it. Source: www.mccullagh.org)
Similarly, the fa<;ade of the American Folk Art

Museum is made of angled panels of a white bronze
alloy with a high copper percentage. The surface
remains warm and rough, maintaining the imprints
of the surfaces it was formed on. The eye is invited
to study it closely and the hand to touch its rich
surface (Franck, 2007: 180-181 ).
(Plate 3.4: The material used in the American Folk Art Museum has a
rich tactile quality. Source: www.architravel.com)
42
In these examples we see the difference between much modem architecture with its
blank, sterile fayades that do not invite the eye or fmgers to linger over its surface, and
multi-sensory architecture, which seeks to invite the body and hands to be a part of the
experience of the building. The importance of material selection in altering perception
and experience is also apparent.
Franck (2007) furthers this argument by suggesting that it is primarily through building
materials that the tactile quality of architecture is expressed. Through their nature, they
send out messages that affect the environment and one's experience of it (Franck, 2007:
76). Thus it is the task of architects to consider how the materials chosen communicate
with the building users. To illustrate this point, Franck has recognized the contrasting
messages portrayed by a variety of materials, namely; timber, marble and granite, brick
and glass.
She believes timber to be reassuring and calming. It speaks of perfection and naturalness,
expressing evidence of age and wear with time. Similarly, marble and granite embody a
sense of life. They reflect the changes the earth has endured during their formation and
suggest a sense of eternity. The messages they convey are of solidarity yet constant
motion and as such are often used in the design of public building and memorials. Brick
is known for its sturdiness and mass, shadows and sense of enclosure. Their
imperfections speak of life and they have a strong connection to the earth, unlike many
other materials. Glass on the other hand is a material that does not invite touch. It is a
material of distance that, while creating a connection for the eyes, also "separates what,
through the eyes, it unifies" (Franck, 2007:79-80).
One can see that tactility and engaging the sense of touch has great benefits for users and
engages them in the experience of a building. With such messages portrayed by different
materials, the selection of finishes becomes highly significant to the designer if the intent
is on creating a specific experience. However, also of due recognition, is the message that
a building leaves with the user once they have left. Architecture of true value does not
just impact the users while they are within a building, but also, once they have left.
43
3.3 RETAINING MEMORY THROUGH BODILY EXPERIENCE
It is by now evident that the visual experience of architecture is only a small component
of human experiential capabilities. The experience of architecture is best generated
through multiple senses as previously discussed. Through the information gained by the
senses, the functional elements of architecture are communicated to the user. However,
"that communication only becomes meaningful due to the social, psychological and
physiological factors affecting one's perception" (Stephens, 1978: 94). Architecture that
impacts one's memory, personal identity and soul are such factors discussed
subsequently.
A psychological factor influencing one's environmental perception is the memorability of

spaces and places. Every architect desires for their creation to be remembered. The
retention of memories of past place experiences implies that the individual has been
impacted in some meaningful way by the experience had within it (Zumthor, 2006: 10).
As human beings, we are born with an instinctive ability to remember and recreate places
in our minds (Pallasmaa, 2005: 67). Memories are retained through one's body and the
experience had, as much as through the nervous system and brain. While the sensory
organs transfer information to the brain, they also spark the imagination and engage in
the creation of memories (Pallasmaa, 2005: 45). It is in this sensory experience of
architecture that memories and meaningful spaces are established within the human
being. Memories are most often generated not by buildings, viewed from far, but by the
experiences had as a result of use in them.
The importance of memory as part of an individual's being has generally been forgotten
within the current age, but memory should be understood as a component of architectural
experience, gained subsequent to the actual physical encounter with space (Bloomer and
Moore, 1977: 105). The importance of memory in architectural experience is evident as
every place, meaningful to the user, is retained as part of one's memory. This is most
often due to the unique qualities of the place and the way it has, unknowingly, affected
44
one's physical body and spawned sufficient associations to be retained in one's personal
being. Furthermore, the real experience of it, from which the memory is carried away,
can last a lifetime (Bloomer and Moore, 1977: 107).
3.4 ENHANCING PERSONAL IDENTITY WITHIN SPACES
It is well known in the field of psychology that one's interaction with their environments
impacts upon their self-image. Within the human mind is a panorama of experiences
taken from the environment. Such experiences are imprinted into one's sense of identity
that is gained over a lifetime of interaction with the world {Bloomer and Moore, 1977:
49).
In the opinion of Bloomer and Moore (1977), one of the most dangerous penalties one
faces in reducing the sensory experience of architecture and of life, as society today has
done, is the risk of losing part of an individual's capability to establish and maintain a
sense of identity. One requires recognition of the space around one's bodies as well as a
sense of the 'internal space' one carries with them to develop such an identity. In
focussing on external experiences such as vision, one's primordial haptic experiences are
diminished. But it is these experiences - "feelings of rhythm, of hard and soft edges, of
huge and tiny elements, of openings and closures, and a myriad of landmarks and
directions - that if taken together, form the core of our human identity'' (Bloomer and
Moore, 1977: 44). Neglecting the needs of one's physical being in the built environment
ultimately leads to the loss ofhumanity and sense of identity within the individual.
One' s environment is part of one's biography. There is no escaping the fact that the
environment one surrounds themselves in, shapes who they are (Day, 2004: 28). It is
significant architecture that, through sensory stimulation, reinforces one's identity in the
world and enables one to experience their being as completely embodied and holistic.
Such architecture increases awareness of one's sense of self and being through the
experience of the physical body within the world (Pallasmaa, 2005: 11).
45
The Kaisma Museum of Contemporary Art in Helsinki, designed by Steven Holl
Architects is a fme example of such architecture. The spatial journey, discussed in more
detail later on, is based on a curved, unfolding sequence of spaces, rather than a single
rigid path of movement. By enabling visitors to journey through the museum in their own
time and manner, users are better able to identify with and retain memories of the
building and spaces within.
(Fig 3.0; The variety of paths to follow is superimposed on the floor plan of the museum. Source:
www.annakostreva.org)
Allowing visitors to impart something of themselves into each space connects them to the
space, thus establishing a relationship between their physical being and the museum
environment, reinforcing their identity within the space. The 'silence' of spaces enables
visitors to engage with the space rather than being
overloaded with information. This further improves
the connection between the user and environment, and
hence, the memories maintained thereafter.
(Plate 3.5: Illustration reveals the spatial layout which allows users to
determine their own paths of movement. Source: www.hilazypfeifer.
blogspot.com)
46
(Plate 3.6: The 'silence' of spaces enables one to better engage with the space.
Source: www.bornbsite.corn)
While it is difficult to pinpoint exact architectural features,

forms or spatial treatments that promote a sense of self to
form due to the experience had within them, it is evident
that the physical interaction between body and building
plays a significant part. Engaging multiple sensory modes
necessitates that the viewer be fully present within a space
and completely engaged with it. These experiences, that
impact the human psyche, have lasting implications that
can contribute to the formation of a strengthened sense of self within the world.
Furthermore, such spaces that respond to the body, not only affect one's sense of identity,
but are also capable of stirring the heart and soul ofthe occupant.
3.5 SPIRIT OF PLACE
A further aspect of the psychological impact of architecture roused by sensory

stimulation, is the intangible, spirit of place; the way in which architecture not only
affects one's physical being and mentality, but also one's soul. The environment and
world of architecture is not only the basis for one's physical existence, but is also the
basis for one's psychological existence as well. The built environment is the source of
dreams, emotions and aspirations that are fundamental to one's architectural experience.
According to Bloomer and Moore (1977: 105), architecture is the making of places.
Architecture is about comprehensibly, experientially and habitably portraying the life of
people into the world. It is the framework within which one resides. With a function such
as this, architecture must have a profound impact on the human being. The environment
one surrounds oneself with has unavoidable influences on their lives and experiences. To
47
recognise how society and individuals are shaped by the surroundings they exist within,
one needs to only reside in a different environment for a short time (Day, 2004: 5).
Environments are not usually looked at. Rather, they are 'breathed' in (Day, 2004: 4).
Much of the time, one's surroundings go unnoticed and thus are able to impact
individuals without conscious resistance on their part. Since architecture has such
profound influence on the human being, it also has responsibilities to those individuals
that come into contact with the building. One such responsibility that goes far beyond the
aesthetic appeal, Christopher Day refers to as, "spirit of place" (Day, 2004: 13). To a
large degree, it is through the stimulation of multiple sensory modes that this spirit of
place is evoked and preserved.
Used in conjunction with one another, the sensory modes offer an image of reality that
cannot be quite sufficiently described by a single sense alone. One tends to think of the
visual sense as contributing the most to this image, however, a smell can trigger
memories like no image could ever do, and the sound of music can provoke instant
emotion. All the senses have an intrinsic part to play, and when combined, they begin to
reveal the "underlying essence of a place." It is this spirit of place that is able to move
one's soul and evoke intense feeling (Day, 2004: 18-19).
The Piazza San Marco in Venice, Italy is an example of a place with a unique spirit.
Here, one is able to understand how the use of the senses plays a large role in the
experience of the spirit of place. The atmosphere of the square is not purely defmed by
the surrounding architecture, but also by the sound of tourists and birds, the feeling of
worn down paving underfoot, the warmth of sunlight as one moves from the shadow into
the light and the salt smell that intermittently fills the square as the wind direction
changes. In the illustration following, one can understand how the spirit of place is not
evident from the purely visual image of such a space.
48
This illustration does little to capture the sounds, smells and tactile qualities of the three
dimensional space. It is rather,
through the use of the other
senses that one holistically
experiences the spirit of the
place.
(Plate 3.7: A view from within the

square does not adequately express the
'spirit of place.' Source:
www.travelpod.com)
Franck (2007) rightly sums up the role of multi-sensory architecture in establishing the
intangible spirit of place when she writes:
"Architecture is given life and spirit by all the qualities that touch the
human senses and the human soul: by light and colour, sound and
texture, by expansion and compression of space, by view and prospect.
These might be considered literal qualities created by the manipulation
of materials and space, but they can go beyond the literal to touch our
souls... If the functional nourishes our physical needs, the poetic
nourishes our soul. If the former relates to people and objects as
machines, the latter relates to living human beings"
(Franck, 2007:34).
Norberg-Schulz furthers this statement by inviting architects to question themselves

regarding their designs if the intention is to define the 'atmosphere' of a place,
"How is the ground on which we walk, how is the sky above our heads,
or in general: how are the boundaries which define the place?"
(Norberg-Schultz, 1996 in Nessbit, 1995: 420)
49
From these questions, it is apparent that as one experiences a place in this manner, it is
not only the eyes which create the experience. It is a combination of all the senses,
engaged in unison, which creates the 'spirit of place.'
3.6 ENHANCING THE BODY THROUGH BUILT FORM
Much of the previous discussion has been focussed on the interior aspects of architecture,
how buildings are experienced from within. However, it is also necessary to understand
the role of the exterior elements of architecture and how one' s sensory perception is
impacted by them. Analysing built form as a sensory stimulant is intended to provide
insight into architecture that not only enhances the user's experience within the building,
but at a distance from it as well. How can the formal and compositional elements engage
the senses? What kind of structures, shapes and arrangements invite the eyes, ears, hands,
and nose to simultaneously interact with it?
One thing evident in the review of literature is that there is no simple answer to such
questions. It is not possible to simply conclude that a sphere is more sensory than the
square, or that transparency is more engaging than solid forms. Far more comes into play
when analysing built form as a stimulator of the senses. Evidence of this is apparent when
looking into the work of Frank Lloyd Wright, Alvar Aalto and Louis Kahn, three
architects well renowned for their architecture directed towards the human body and
sensory experience. While all create architecture appealing to the senses, the built form of
Frank Lloyd Wright has kinaesthetic and textural qualities; Aalto's buildings have a
muscular presence and tactility and Louis Kahn's architecture portrays geometry and
strong sense of gravity (Pallasmaa, 2005: 35). A common thread evident throughout their
work, however, is the reintroduction of "plasticity" which was seldom evident in the
modem era. This "plasticity" opposes that which is isolated in the visual realm, void of
tactile elements and details designed for the human body. These buildings have opposed
those of the modem era that are two dimensional, sharply angular, void of texture and
lack permanence in the world (Pallasmaa, 2005: 31). Instead, such architects have
50
attempted to revive the sensory elements of architectural form by enhancing the haptic,
material and textural qualities of architecture, as well as focussing on the weight, spatial
density and play oflight on buildings (Pallasmaa, 2005: 37).
Pallasmaa (2005) associates the process of design to that of the creation of art,
particularly sculpture. Instead of creating a series of visual images, a physical object is
created that has mass, form and function. Such an object offers shapes and moulded
surfaces for the eyes to 'touch' and senses to engage with. The important element of
sculpture he highlights, similar to architecture, is the evidence of the way its form has
been made. A piece of art that expresses the touch of a hand in its creation and formation,
engages with the human body as it allows the viewer to trace the lines of construction and
moulding. Similarly, architectural form that reveals the physical touch and hands which
enabled it to come into being are far more appealing to the senses than the mass
produced, machine replicas seen in the past. Pallasmaa goes further to warn architects
against the dominance of the computer seen in society. He argues that the computer tends
to diminish the role of the designers hand in the creation of buildings. Instead of
promoting an integrated design that is multi-sensory, multi-faceted and full of
imagination, the computer narrows the design process to a passive, vision-focussed one.
Such a process does not allow the designer to be haptically engaged with the structure or
to gain ftrst hand understanding of elements of scale, form, texture, weight and plasticity
In expressing the process of design through built form, construction methods and details
become very important. Zumthor (2006: 11) believes that the heart of architecture lies
within its construction. "Construction is the art of making a meaningful whole out of
many parts." It is the details that aid the viewer in gaining an understanding of the whole
composition. Furthermore, details can express and reinforce the basic design principles
adhered to in the development of built form, such as weight, tension, transparency and
solidity (Zumthor, 2006: 16).
51
Franck (2007) goes further to say that it is not merely the built form of architecture that
affects the sensory modes, but also its connection to the surroundings. While it is
tempting in a discussion related to built form, to view architecture as mere objects in
space, it is necessary to understand the importance of the surroundings and site
conditions. The ground from which the architecture emerges is as important as the forms
it gives rise and substance to (Franck, 2007: 165).
Zumthor, in discussing the design process for the Therme Vals in Switzerland, recognises
the importance of the site in the design process. In this project, the building form was
derived from the site itself. Rather than creating preliminary ideas of what the built form
should look like, they visited the site and began to question what the mountains, rock and
water suggested in terms of the structure to be built. What emerged from this recognition
of the site, were functions, forms, materials and spaces which Zumthor believes "possess
the potential of a primordial force that reaches deeper than the mere arrangement of
stylistically preconceived ideas" (Zumthor, 2006: 29).
(Plate 3.8: Exterior view

of the Therme Vals shows
the integration of the
building and site. Source:
www.archnow.com)
A prime example of
architectural form
that engages
multiple sensory modes can be seen in Frank Lloyd Wright's 'Falling Waters'. This
building is fitting within the context of the argument as it illustrates a built form
pleasurable to all the senses, while at the same time recognising the importance of the
surrounding site, method of construction and detail in the overall experience of it. In
experiencing such a building, the forest, tactile surfaces, hues and spatial volumes,
sounds and smells, all come together to create a holistic experience (Pallasmaa, 2005:
44).
52
(Plate 3.9: Exterior view of Falling Waters illustrates the
sensory forms, textures, volumes, colours and the
building's connection to the surroundings. Source: www.
kongdoo.livejoumal.oom)
In aiming to understand built form as a

sensory stimulant, it is evident that one
cannot conclude that specific forms,
arrangements, or styles of architecture are more multi-sensory than another. Rather, the
evidence of the way in which a building has been composed and constructed gives built
form a quality that engages the senses. When the sculptural quality of architecture and
evidence of physical touch can be seen, the viewer is more likely to haptically engage
with it. Furthermore, built form cannot be viewed or 'assessed' by itself. No building
stands alone in space as all are grounded in a setting that impacts the perception of the
built form. Thus, the site, context and built form must be viewed in unison to gain a
meaningful understanding and appreciation of architecture.
3.7 CONCLUSION
In conclusion, it is clear that what architects create is not so much form or space, but
rather an experience. According to Pallasmaa (2005: 72), "Architecture is the art of
reconciliation between oneself and the world, and this mediation takes place through the
senses." The purpose of architecture is far more than purely providing for the functional
needs of its users. Rather, it is a means to unite the inhabitant with the world around them
in a meaningful and positive way.
It is through the bodily experience of architecture, that qualities of the built environment
which affect the senses of touch, hearing, smelling as well as seeing, are recognised. And
it is in the experience of such qualities that memories are preserved and one's identity is
53
shaped. Furthermore, it is this physical interaction between the human body and the built
environment that enables one to experience the environment's unique, underlying spirit,
the essence of the place that nourishes the soul.
54
CHAPTER4
CHILDREN AND THEIR ENVIRONMENTS
55
INTRODUCTION
Until recently, the manner in which children perceive and react to their environments has
largely been overlooked by professional architects. The way in which much architecture
for children is designed, is based on the presumption of adults, rather than the perception
of children. The fundamental difference, upon which this research rests, it that children
understand and appreciate the built environment, not on its purely aesthetic or visual
qualities, but rather on its functional characteristics and opportunities it provides
(Christensen, 2003 in Said, 2007: 1). This further reinforces the notion that a purely
visual approach to architecture is not ideal, particularly in the context of building for
children.
To begin to seek a more appropriate and beneficial approach to the design of children's
spaces, it is important to first understand how children develop within, interact with, and
learn from their environments. If architects and planners looked at the way children
actually used the environment, one would have a better idea of the way the environment
could be designed or modified to be used by children (Ward, 1978: 87). The chapter
opens with a discussion regarding the cognitive, physical and social functioning of
children which is impacted by the built environment. It then focuses on three aspects of
children' s relationship with the environment and the manner in which they engage with
it. Firstly, children's spatial experience and the physical manner in which they interact
with their surrounding. Secondly, the importance of play in their development and
experience of space, and how the environment can encourage this. Lastly, children's
experience of places through exploration and place making, and the psychological impact
imposed by their surroundings, is discussed.
4.1 COGNITIVE, PHYSICAL AND SOCIAL DEVELOPMENT
A primary area of children's development occurs in the form of cognitive growth. In a

general sense, cognitive development focuses on how children learn and their ability to
56
process information. It observes the methodical transformation in children's reasoning,
concepts, memory and language. In an architectural sense, it refers to how children
perceive spatial qualities and attributes of places, in addition to its inherent meaning. It is
the way in which children respond to the environment and its features based on their
perception of them (Said, 2007: 2). Visual, tactile and aural perceptions of the built
environment i.e. sensory information, greatly advance development in this area.
Important to note is that cognitive development is not an automatic process and without
education, children will not reach the levels of development appropriate to their age
(Edulox, 2005).
A component of cognitive development relevant to this study is that of cognitive

mapping. This can be described as the way in which children use their intellect and
memory to process their spatial environment and identify relative features, directions and
orientation (Downs and Stea, 1973). While cognitive mapping evolves as a child matures,
the predominant elements of cognitive maps originate in the form of landmarks and
routes. Landmarks are noticed first and form the fundamental orienting features of space;
routes that link these landmarks are then formed. Once this information is established in
the memory of a child, a "configurational" understanding of the environment is obtained.
Important to note is the hierarchy given to each element of the cognitive map. Landmarks
are of primary importance, routes considered second and configurations are subordinate
to both (Shemyakin, 1962 in Baird and Lutkus, 1982: 27).
Also relevant to note is the physical and social functioning in the development of
children. Physical development refers to gross motor and fine motor skills that children
gain through physical interaction with the environment, both indoors and outdoors, and
the features within them. Physical functioning is closely related to cognitive development
as perception is an active experience. It is through mobility that one is able to perceive
and one must be able to perceive in order to travel through spaces (Kyatt, 2003 in Said,
2005: 3). It is through perceptual recognition, gained through sight, sound, touch, taste,
smell and movement, that an environment reveals information to the child.
57
Social functioning on the other hand is the interaction of children with other children and
adults which enables them to understand and accommodate others. Furthermore, it
examines children's relationships with others, coping mechanisms and changes in mood
and feelings. This component of a child's development, while not fundamental to this
study, is important to bear in mind as it is influenced by the physical setting which
enables these interactions to occur (Said, 2005: 2).
Addressing these three developmental areas in the architectural environment is important

as an architectural facility that enables a child to be "cognitively alert to the external
stimulus through movement and social interaction" will be catalytic in creating a bond or
affiliation between the child and that environment (Chawla. 1992; Khan, 2002 in Said,
2005: 3).
4.2 CHILDREN'S SPATIAL EXPERIENCE
Children do not experience the world as adults do and the adult is generally incapable of
experiencing the world as the child would. Such perception is vastly different from that
of the adults that design, plan, build and use the environments children find themselves
in. Furthermore, children's discernment of spaces, sounds, visual and other signals within
their surroundings differ according to age and maturity (de Monchaux, 1981: 24). The
differences between the spatial experience had by children and adults are numerous. A
number of such differences are highlighted below.
The first major difference to be noted is that the sensory experience had by children is far
more acute and detailed than that of adults. As stated by Yi-Fu Tuan (1974), children are
free of worldly cares, are free of habits, negligent of time and are open to the world.
Resulting from this is the capacity for vivid sensory experiences involving all sensory
modes. This aspect of place experience has been dulled in the adult experience due to
familiarity and an actual measurable decline in sensitivity to taste, smells, colour and
sound (de Monchaux, 1981: 25).
58
The environment is experienced at a slower pace, enabling children to fully engage with
the world around them at a very basic level (de Monchaux, 1981 : 26). This experiential
difference can partly be attributed to the difference in scale between children and adults.
The younger the child, the closer the eye is to the floor and objects at low levels, which
are often overlooked by adults. Thus, the floorscape - the texture and subdivisions of
flooring as well as changes oflevel and curves, impact the child more.
(Plate 4.0 & 4.1: Textural

variations, floor patterns and
changes in levels are acutely
perceived by children due to
their srnallec scale. Source:
www.dullrnensclub.corn;
www.hotelrorne.net)
The tactile qualities of these architectural features become far more important to
children's perception of them than their visual qualities (Ward, 1978: 22). While largely
unnoticed by adults, the floor textures and level changes shown in the plate 4.0 and 4.1
are significant to the child.
Another primary difference is that while adults perceive spaces from a predominantly
visual perspective, children perceive their surroundings through their bodily interactions
with them. The experience of the environment through the sensory modes begins from
birth. The baby begins by tasting things, touching them, handling them, crawling on them
or toddling over them, thus learning more about them. As the child develops, the manner
in which they interact with objects and the environment develops and advances; however,
the need and interest of children to touch, to physically and actively engage with their
environment remains important (de Monchaux, 1981 : 90).
Compared with adults, children are perpetually active. They are in constant search of new
stimuli, for a new experience to be had, for something to do (de Monchaux, 1981: 28).
Often this involves looking beyond the intended purpose of objects in the environment
59
and adapting them for other uses. Such can be seen in the observations of Rassmussen
(1959) at the church of S. Maria Maggiore, a tourist attraction which stands on one of
Rome's seven famous hills. Here, many tourists that visit do not truly appreciate the
unique character of the surroundings. However, the children he watched playing a ball
game against the wall at the top of the stairs experienced the space in a unique way.
While not designed as a place of play for children, they converted the space into such and
in doing so, gained a true three-dimensional sense of the space which others could not by
simply viewing; unaware, they haptically experienced the basic elements of the
architecture: the horizontal planes and the
curved vertical walls above the slope of the
stairs. It is on these elements they learned to
play. Rassmussen observed that, "one could
sense the three-dimensional composition as
never before" (Rassmussen, 1959: 17).
(Plate 4.2: Children play on the steps of S. Maria Maggiore.

Source: Rassmussen, 1959: 17)
These disparities jn children's perception of the environment compared to adults are

certainly not minor. Thus, one would expect children's environments to be designed
accordingly. Sadly, however, there is seldom any difference between spaces designed for
children, and those designed for adults, apart from the superficial far;ade treatments,
colours used and interior design features or furniture. It is necessary to first fully
understand children's spatial experience in order to make accurate design decisions and
create appropriate environments for children to engage with. Understanding the value of
play in the lives of children and appreciating the psychological impact of places are two
of many components of children's experiences which need to be well understood.
60
4.3 THE IMPORTANCE OF PLAY IN DEVELOPMENT AND SPATIAL
EXPERIENCE
For some time, the importance of play was not recognised in the development of children.
Luckily, current research has shown that children have a naturally deep, urgent need to
play (Froebel, 1973 in de Monchaux, 1981: 58). Children's free play is a complex concept
without definition, but is classically pleasurable, self·motivated, imaginative, non-goal
directed, spontaneous, active, and unburdened by rules imposed by adults. "Quality play
involves the whole child: gross motor, fine motor, senses, emotion, intellect, individual
growth and social interaction" (Stoeklin, 2000: 1). Play rouses the child's cognitive sense
of sight, touch, taste, sound and smell (Yates, 2002 in Said, 2007: 2). As such, it is
through play that children grasp and begin to understand the world around them (Moore
and Young, 1978 in Said, 2007: 2).
Unfortunately, in present day society, children are losing the influence derived from the
natural playing of games. "Crowding and lack of space, urbanization and TV addiction,
and an obsession with pumping information into children have robbed many of the
playfulness and essential play experiences" (Gomme, 1894 in Ward 1978: 88). This is
detrimental to the development of children as free play is foundational in the training of
motor skills, sensory awareness, exercise and excitement. The educationalist, Froebel,
stated that ''play is the highest expression of human development in childhood." Not
being able to take part in games and join with peers in the exploration of the environment
sets children at a clear disadvantage and limits their development (Froebel, 1973 in de
Monchaux, 1981: 58).
The deep urge within children to play is evident in that all children will play everywhere
and with anything. Play is a constant happening, rather than something restricted to
playgrounds and school yards, as adults often assume. One can see this evident in plate
4.3 where children play on an anti-aircraft gun in Beirut, Lebanon. No matter how dire or
dangerous the situation, children need to play.
61
(Plate 4.3: Children use all resources
for play. Source:
www.stevemccurry.wordpress.com)
Designers and planners

should get used to the idea
that, whether invited or not,
children will make use of the
entire environment accessible to them. The moment the child is free to use buildings,
surfaces and changes in level for his own purposes, he becomes adept in employing them
for purposes of play. Taken in Cuemavaca, Mexico, this photograph [plate 4.4] shows
how the built environment, such as pavements and streets and steps, provide places for
free play to occur.
(Plate 4.4: Children play in the city of

Cuemavaca, M~ico. Source:
www.gringaespanola.com)
Playful interaction between

the body and built form is
evident in one's memory ·of
childhood activities. In the
simple game of stepping on
slits on the street pavement,
a child plays his body, its dimensions, shapes and rhythms, against the ordered network
of the paving grid. Timing and movement patterns are determined by the horizontal
configuration. Similarly, the game of hopscotch implies the same playful interaction
between body and built form (Bloomer and Moore, 1977: 59).
62
4.4 THE PSYCHOLOGY OF PLACE EXPERIENCE
The fmal aspect to be considered in investigating the way children perceive and interact
with the environment is the psychology of place experiences. It is not enough to purely
understand how children physically engage with space, it is also necessary to look into
the psychological impact of their environments and what causes children to develop
attachments to certain places. Place-attachment can be understood when children show
signs of pleasure and enjoyment within a space and distress when leaving it. It is a space
appreciated for it "intrinsic qualities" as well as its functional provisions (Chawla, 1992
in Said, 2007: 4).
Tori Derr, an environmental psychologist, has done much research exploring children's
sense of place and has recognized the numerous variations in children's experiences in
shaping their learning, social development and play. From her research and case studies
of children from various areas around the world, she has recognized a number of
common themes representing basic ways that children psychologically engage with and
are impacted by place experiences. Children' s learning through adventure and
exploration is one such theme (Derr, 2001 in Spencer, 2006: 108-119).
For children all over the world, exploration is key in expanding their world view, testing
boundaries, and sometimes in incorporating these physical experiences with places, into
their sense of personal identity (Spencer, 2006: 11 0). Children are born with a natural
sense of exploration and they interpret the realities of the world through their sense of
touch, sight, smell and hearing as they explore (Nicholson in Dudek, 2005: 50).
An important aspect of exploration is the freedom necessary to achieve it. Many parents
place boundaries on children and limit their home range considerably. Without the
freedom to wander, children have difficulty discovering new places to truly explore. This
is unfortunate, as a diversity of places, and an abundance of interesting features within
them, was found in many case studies conducted by Derr, to be most significant in
facilitating this type of place experience. Many studies support the spontaneous aspect of
63
exploration; whether in places close to home or far away, in nature or in cities, as being
one of the most significant for children (Derr, 2001 in Spencer, 2006: 112). Furthermore,
children's participation with features of the built environment and natural environment
generates a sense of satisfaction in their place experience thus keeping the experience as
part of their memory. When a memory of a place remains in a child's subconscious, it is
evidence that the child has formed an attachment to that place (Sebba, 1994 in Said,
2007: 4).
Tbrough empirical studies conducted by Hazen (1979), the impact of exploration on

cognitive development has become apparent. Results of her observation of children
revealed that those who explored a new environment independently were better able to
integrate spatial information about that environment. Such knowledge is valuable as it
can lead to more efficient use of space as well as create a favourable reaction between a
child and its surroundings (Hazen, 1979 in Baird and Lutkus, 1982: 61-62).
A further theme identified by Derr's (2001) research is that children experience

imagination, escape, safety and creativity through active place making.
Most children have the desire to build some sort of shelter at some point in their lives.
While the variety of ways and means by which they achieve this varies profoundly,
common to all of them is the enclosing of space for the child's personal use (Rassmussen,
1959: 34).
(Plate 4.5: Children build shelters using

materials easily available. Such a process
is important for their development of
identity. Source: www.mus-ic.co.uk)
Contrasting adventure, risk-

taking and exploration, children
use place-making as a means of
64
looking inward, of creatively manipulating space to produce something of their own and
developing their identity. Children use such special places for a variety of needs such as
' escaping'- whereby they can get away from family and clear the mind (Derr, 2001 in
Spencer, 2006: 112). In plate 4.5, children escape into self-made shelters such as the tent
using resources available to them.
It is through the physical act of constructing and enclosing of space that children are able
to retain stronger memories of spaces. The act of physically changing the environment for
their private use allows children to impart something of themselves into a space, thereby
enhancing their personal identity and sense of belonging.
In a case study performed, Rosa' s (age 10) special place was of particular importance to
her as it provided a quiet place of her own, to read, think, and to begin to construct her
own identity apart from her family. Her appreciation for that special place also occurred
through multiple sensory modes. The most noticeable attractions for her were the sounds
of running water in the river, the smell of the flowers and movement of birds (Spencer
2006: 114). For children such as her, special places play a significant role in personal
wellbeing. For many children, however, the places seem to be less important than the act
of place-making (Derr, 2002; Hart, 1979; Lynch, 1997 in Spencer, 2006: 114).
The needs of children in terms of exploration and place-making are very different from
the needs of adults regarding the psychological experience of architecture. These needs
further reinforce the physical manner in which children engage with space. It is through
active exploration and physically manipulating the environment for their own use that
children benefit from the environments they occupy. In bearing this in mind during the
design process, architects can create spaces that are not only physically challenging and
engaging for the child, but also positively aid their psychological development.
65
4.5 CONCLUSION
Evidence shows that children's experience of the environment is vastly different to that
of adults. Children tend to engage with their surroundings on a much more physical level,
employing multiple senses in their place perceptions. Such development, in the form of
cognitive, physical and social functioning as well as learning about the environment,
occurs through play, exploration and place-making. lbis can be promoted and enhanced
by a built environment that encourages playfulness, discovery and is accessible to be used
and manipulated by children.
As shown in the growing body ofliterature, much is gained from children's experience of
places. For example, the aforementioned place experiences are shown to help shape a
child's identity and may help them form attachments to places (Derr, 2001 in Spencer,
2006: 119). However, there is still a need to further understand children's experiences
from their own perspectives. Environmental planners and architects need to endeavour to
ensure that the environments created meet the requirements and interests of children, so
that they will be able to form attachments to places they encounter and learn within and
also establish a sense of ownership over them (Derr, 2001 in Spencer, 2006: 119).
66
CHAPTERS
A NEW APPROACH TO THE DESIGN OF ClllLDREN'S
SPACES
67
INTRODUCTION
From the preceding exploration into children's place experiences and manner in which
they engage with and respond to their environments, a number of key elements have been
identified as being beneficial in the future design of children's spaces. The discussion
begins by looking into the Reggio Emilia approach to education, to provide the
framework for the discussion of more specific elements of the architectural facility.
These are: the provision of variety, gaining inspiration from nature and viewing buildings
as learning opportunities. This is by no means a conclusive list; however, these elements
serve to practically illustrate means of including sensory stimulation within the design of
children's spaces as it has been shown to be beneficial to children's development and
promote enjoyment of spaces.
5.1 REGGIO EMILIA APPROACH TO THE LEARNING ENVIRONMENT
The Reggio Emilia approach to education has been identified as a suitable starting point
to the discussion of appropriate design approaches to children's learning spaces. While
many other models of pedagogy exist today and are beneficial in part to this discussion,
this particular educational philosophy has been selected to form the framework for the
following discussion as it refers most specifically to the role of the physical environment
in children's learning, development and enjoyment of spaces.
The philosophy was started by parents in Reggio Emilia, a city in Italy, after World War
II. In the wake of the war aftermath, parents desired to establish a new approach to the
education of their children which opposed that of the Fascist dictatorship they had been
subjected to. Loris Malaguzzi, a young teacher who worked with the parents during these
early stages, is considered the founder of Reggio Emilia education (Gandini, 2008).
68
The underlying assumption of this approach is that space matters and educators are
concerned about the messages their environments portray. Malaguzzi (Martin (ed), 1998:
1), stated that,
"We place enormous value on the role of the environment as a

motivating and animating force in creating spaces for relations,
options, and emotional and cognitive situations that produce a sense of
wellbeing and security. "
This statement illustrates a fundamental factor of this theoretical model: that the school's
physical environment is viewed as the ''third teacher" in conjunction with two classroom
teachers. The built environments designed according to this approach do more than house
the activities and people within; rather they become a functioning component of
development that works with the educators.
On a general level, the theoretical framework of this approach is one in which the child is
viewed as "strong, competent and active," working in a supportive environment. The
integrated architecture of such facilities reflects this view. Unique to the Reggio Emilia
approach is the importance placed, not just on the child, but community and family as
well. Communities are intended to support the education of its children and parents are
encouraged to be involved in the child's schooling career and incmporate principles into
their parenting and home environment (Dudek, 2005: 50). This aspect of the Reggio
approach is considerably relevant to many areas and cultures of South Africa where
children become the responsibility of and are looked after by the community and not just
their parents.
One final note added here is that in such schools, participation of the children in the
design and manipulation of their environments is considered vital. The interior and
exterior environments provided must allow for flexible remodelling necessitated by their
activities and ideas. Furthermore, personal input into the child's environment is an
important form of expression. Enabling and encouraging children to personally invest in
69
their environments in this manner, builds respect and minimises occurrences of
vandalism and destruction.
With the Reggio Emilia approach forming the framework for the remainder of this
chapter, a discussion of more specific aspects of designing appropriate spaces for
children follows. These three components examined are in keeping with the philosophy
of Reggio Emilia but give evidence of support from numerous other authors.
5.2 THE PROVISION OF VARIETY
Variety in spaces designed for children is a vital component of quality environments that
children enjoy and develop within. Children learn while they play and explore, and if this
occurs in a varied environment which is aesthetically stimulating, there is far greater
opportunity for development and growth. As Kuhnert (1977) states, "[the child] is being
conditioned, and if you condition him to a boring, monotonous monochromatic
environment then he accepts that" (Kuhnert, 1977 in de Monchaux, 1981: 60). It follows
then that unstimulating environments tend to dull or deafen the child's perceptions.
Unfortunately, this is often the environment young children are subject to. Adult centred
designs confme children indoors with predetermined allowance to the outdoors. The
indoor environment is a controlled setting where temperature, lighting levels and
humidity remain constant throughout the day. Similar plastic furniture and toys form the
basis of their games and play opportunities. Routine experiences in a similar and
restricted space forms the basis of cognitive development. Such development leads
children to the unfortunate understanding of architecture as an adult-orientated element
not allowing for change or manipulation (Said, 2007: 1).
To contrast this, places for children must be "capable of supporting and stimulating
sensory perceptions in order to develop and refine them. This is an essential aspect of
education ..." (Nicholson in Dudek, 2005: 50). It is thus imperative that children be
exposed to a wide and varied environment with an abundance of stimuli. This will ensure
70
they do not grow up to accept mediocre environments and poor quality conditions for
learning, which they may have been subjected to.
Criticos and Thrulow (1987: 123) have a unique way of defming architecture for
children; as "a toy, to climb in, over, through .. . to explore and experience. .. bright,
carefree and cosy ... with form, light, colour, shape and texture." Such an outlook puts the
provision of a variety of spaces and abundance of sensory stimuli at the centre of the
design process. They further promote that children require this variety of spaces to
accommodate multiple moods and activities. The range of spaces need to provide for
individuals wishing for quiet activity and private concentration; others need to be able to
accommodate small groups. In addition to these, large groups need to be accommodated
in spaces that are extrovert and open, providing space to run, shout and have fun.
On the whole, the environments in which children form part of the users, should be
designed to allow children to use the built form in a multitude of ways. Where possible,
objects and features in the environment should be designed to be able to be used for
multiple purposes. They should have the capacity to be transformed into objects of play
and fantasy for children's games (de Monchaux, 1981: 63). It is with this approach in
mind that one will see an improvement in children's ability to partake in a number of
different play activities that will enhance their perception of the built environment, and
their development within them. Furthermore, enabling children to change and manipulate
the architectural facility can aid in the generation of a sense of place attachment (Said,
2007: 1). The Reggio Emilia approach to children's educational facilities supports this
theory by promoting flexible play spaces that can be adapted infinitely. Ideally, children
need to be free to change the environment to make it more appropriate for themselves
(Dudek, 2005: 199).
71
This approach is vividly evident in David Rockwell's Imagination Playground in New
York, illustrated below.
(Plate 5.0: The Imagination Playground is a prime example of providing variety and multi-functional elements in the
design of spaces for children. Source: Fennell, 2010: 106-107)
Imagination Playground is based on the theory of loose parts, first offered by Simon
Nicholson in 1971. It was his understanding that in any environment, the number and
type of variables available is proportional to the "degree of inventiveness and creativity
and the possibilities of discovery" (Nicholson, 1971 in Stoeklin, 2000: 1}.
This innovative play space was conceived to encourage child-directed, unstructured,

sensory stimulating free play. Made up of loose parts of various shapes, sizes, textures
and weights, the playground offers a constantly changing array of elements that enables
children to constantly refigure their environment and to design their own course of play.
This flexible environment allows for endless play possibilities rather than prescribed
activities often apparent in traditional playgrounds. The total lack of structure and
definition enables children to create whatever their imaginations desire (Fennell, 2010:
106}. Such a space, while not an actual building, has many principles that can be applied
to existing and new facilities for children. It fulflls the need for children' s senses to be
stimulated, for children to be able to explore and manipulate the environment and for
free, unstructured play to occur; all of which are vital in terms of environments for the
developing child.
72
5.3 INSPIRATION FROM NATURE
Stoe.klin (2000) has done extensive research on children's learning environments and
outdoor play. She has found outdoor environments to be positively linked with the
development of the imagination and sense of wonder, as well as stress relief in children.
Furthermore, in the life of a child, nature is a space where their senses are readily
stimulated (Sebba, 1991 in Stoeklin, 2000). It is the subtle variations in bodily
experience, such as the feelings of a cool breeze on the skin, the smell of fragrant plants
and flowers and sound of gently flowing streams that is able to ignite the imagination and
enable children to "lose themselves." This, in effect, is found to lessen stress levels of
children living in urban areas today (Dudek, 1996: 107).
Children experience nature not as a background for events, but rather as a stimulator and
experiential component of their activities. Plants, soil, sand, and water, speak to all the
senses and they provide settings that can be manipulated. Elements of the natural
outdoors enables free play that focuses on unstructured, creative exploration with varied
materials. Moreover, the high levels of complexity, variety and constant change in nature
support longer and more complex play opportunities. Due to its interactive quality, nature
stimulates discovery, dramatic pretend play, and imagination (Stoeklin, 2000). An
important property of these natural places is that their access to them is not highly
exposed, specifically to adults. With little structure and few restrictions, it enables
children to freely and vigorously be involved in play (de Monchaux, 1981: 65).
All the manufactured equipment and indoor instructional materials produced by the best
educators in the world cannot substitute for the primary experience of hands-on
engagement with nature (Stoeklin, 2000). While it is impractical to expect children to
spend all their free time outdoors in such environments, integration between the indoor
environment and natural outdoors can be achieved. This can be done by seamlessly
designing the transition area between inside and outside. Design that allows children to
move freely between inside and outside encourages children to experiment with
autonomy from adults, both physically and symbolically.
73
This understanding of the importance of nature and the creating of a clear transition space
between interior and exterior space is a fundamental aspect of Reggio Emilia schools.
The Harris Family Children's Centre is one such
school based on this education and design
philosophy. One enters the building from a shaded
porch into a central lobby filled with greenery
which blurs the boundary between inside and
outside. On axis with the entrance, there is a
direct connection to the outdoor play area through
full-height glazed sections. There is a sense that
while invited to enter the school building, one is
encouraged to venture outdoors as it is the most
important space.
(Fig 5.0: Transparency and openness are the primary design

themes. This is seen in the strong indoor I outdoor relationship.
Source: www.designsbare.corn)
--·---
/
....... - .. __
...-
...!J..
(Fig 5.1: This initial sketch site plan below shows this concept at the design stage. The entrance opens on to a lobby
which is directly connected to the outdoors. Source: www.designshare.corn)
74
To further integrate the outdoor, sensory experience into the built environment, there is
opportunity to use this natural, stimulatory environment as a generating tool in the
conception, development and detailing of children's spaces. Two such benefits associated
with nature that can easily be applied to the design of children's spaces follow:
The first characteristic unique to the natural environment is its influence on one's
creativity. In the wilderness, it is out of necessity that one thinks creatively in order to
take action. This need for creativity is often lost in typical children's environments, such
as schools, as they do not encourage imagination. There are no decisions to be made, as
everything within the built environment is predetermined. In comparison, by
incorporating this aspect of nature into the design process, the resultant spaces for
children would encourage creativity and enhance the experience within. Viewing spaces
for children as "interior landscapes'' may also provide clues to designing spaces that
encourage self-generated activities and a multi-dimensional environment (Dudek, 2005:
xvi).
In The Childcare Centre designed by Ton Venhoeven in the Netherlands, the application
of the natural environment into the design is evident. He deliberately incorporated ramps,
terraces and level changes which encouraged children to climb and explore as they would
outdoors. These
aspects of the design
are evident in the
illustration adjacent
(Dudek, 2005: xvii).
(Plate 5.1: Interior view of

Ton Venhoeven's Childcare
Centre in Souest. Source:
Dudek, 2005: xvii)
75
His inspiration came from his own childhood play area which was a wild, rambling
garden around his house. This transfer of his childhood experience has created a rich
'interior landscape' that is attractive, stimulating and engaging for a child (Dudek, 2005:
xx).
A second characteristic of the natural world that appeals to children and adults alike, is
the ease with which it can be manipulated and changed according to one's desires and
needs. In nature, nothing is predetermined or unchangeable and each day spent outdoors
presents new experiences. This can be incorporated into the design of children's spaces
by allowing children, teachers and parents to manipulate spaces and create their own
environments. "Predetermining every aspect of a child's interaction with an environment
limits the range of learning possibilities and development of creativity" (Dudek, 2005:
43). Thus, flexibility, movable furniture and a variety of multi-functional spaces is
important.
The difference in the illustrations below shows one traditionally designed learning space
[fig 5.2], while
•
GJ the other [fig 5.3]
shows the same
space designed
o ~
Classroom
'~~••
Shared
ltroject
r.
,, lmcl
Fonfl Centre
Activity
~oneJ
• ' I I•
Shared
ProJect
( with a creative,
user-determined
·o
Area Ant~t layout.
. .•
.... f
CIBUJ'OC?m .
I""· : • (Fig 5.2: Traditional
layout of a learning
space. Source: Dudek,
2005:41)
76
...
......... Stor•
..
--
Arts
(Fig 5.3: Creative, user-
determined layout of a learning
space. Source: Dudek, 2005:42)
t~
,.,
,.., .
......
on
In looking at the two of

many possibilities
mentioned above, it is
·- Star. evident that integrating
the outdoor environment
and its associated activities and benefits within the built environment, may aid in
establishing a new approach to architecture for children that is well-suited to them,
providing for their needs and focusing on encouraging development through the built
environment.
5.4 ARClllTECTURE AS A TEACHING OPPORTUNITY
Since children are spending more time indoors in structured play areas where they can be
supervised, it is in these spaces that learning and development happens. The design of
these spaces thus becomes important in ensuring they are loved, enjoyed and beneficial to
children, as it is evident in research that learning, which is the "process of change in
patterns of thinking, valuing, feeling and acting resulting from an interaction between the
child and his environment," is more likely to happen in places designed appropriately for
children (de Monchaux, 1981: 18).
From the previous statement, it is apparent that learning and development begins with the
framework set by the architectural facility provided. Such environments provide the
setting for children to interact in and engage with others and materials. Furthermore, it is
these facilities that establish the environmental layout as well as the relationship between
77
spaces, the exterior environment and resources within such spaces. Basic conditions are
determined, such as the way people are intended to interact, sound penetration, light
emission and temperature control (Loughlin and Suina, 1982, in Spencer, 2006: 93).
With such great influence on its users, if designed appropriately, such spaces can become
an active part in the developmental and learning process of children. Instead of merely
functioning as a shell in which such activities occur, architecture for children can become
a physical part of their education. This is the fundamental motto around which Reggio
Emilia schools are designed. At Reggio, there is an understanding that architecture and
education for children are mutually dependent on each other. Such schools consider the
physical environment carefully to enhance their educational potential at the same time
maintaining the values and goals ofvarious cultures (Dudek, 2005: 51 and Tarr, 2001 : 3).
Creating the opportunity to generate learning from architecture was fully harnessed in the
Ballifield Community Primary School in Sheffield, UK. The new addition to the school,
designed by Prue Chiles Architects, embraces nature and technology and aims to be part
of the process of learning, by using structure and materials as learning tools. The
structure of the school has been purposefully designed to encourage questions regarding
structural forces. The expressed roof structure [fig 5.4] illustrates how this is achieved.
• DOWN TECHNOLOGY
~~,ABLE CLASSROOM
~,,
(Fig 5.4: Interior sketch showing structure performing as a teaching tool. Source: www.imagineschooldesign.org)
78
Recycled newspaper insulation fonning
the walls is exposed through observation
panels when worktops are folded down.
(Fig 5.2: Fold-down worktop reveals wall structure.

Source: www.pruearchitects.co.uk)
Other exposed sustainable features include green, living walls and the wetland. The
surrounding landscape is also viewed as a teaching tool. A platform has been design to
give children viewing access to the pond life, wetland and meadows.
(Fig 5.5: Plan shows the wetland and

viewing platform as well as the school
entrance, classrooms, and access to the
outside environment. Source:
www.imagineschooldesign.org)
ENTRANCE ·
In addition to this, children
also learn much about society,
PARKING values and ideals through the
i " . . ..:.:::··· ·~
~ .. ·· : ?..,. .....
spaces they occupy (Day,
9
tp2: 2004: 2-3). Nicholson (2005:
~ 45) believes that a building
( ' ;;:. can perpetuate ideas about
how children are taught and learn, but at the same time, the building can also indirectly
communicate to children what is important and deserving of respect. Thus, she is of the
opinion that spaces for children can make a considerable difference, not purely in formal
education, but also in life experiences.
79
As one gains awareness of the great impact of the environment and the intrinsic part it
plays in children's development and learning, the way in which these spaces are designed
becomes of considerable importance. Environments for children should not merely be
viewed as a shell in which learning occurs. Rather, they should be challenged to become
an active component of the child's education, encouraging questions to be asked and thus
knowledge to be gained. Furthermore, through the built environment created for them,
lessons can portray to young children the importance of their self-worth and value to
society. This education, which may be viewed as even more valuable than a purely
knowledge-based one, is vital as it not only positively influences the child during the time
spent within the environment, but also throughout their lives as they grow and mature.
5.5 CONCLUSION
Due to the evolving nature of children's culture, children are spending much of their
waking lives in day care facilities, schools etc. while parents are engrossed in the
workplace. This places the onus on designers to consider the needs of children in a new
light. Dudek (2005) argues that the child's environment, created by architects, must be
viewed as a "world within a world"; it should be a special place with all the aspects that
make the environment a rich landscape for exploration, play and learning (Dudek, 2005:
xx). As previously mentioned, these approaches to the design of children' s spaces are
only three, of a lengthy list of possible approaches within the Reggio Emilia framework
that do just that. These have been specifically selected for discussion as they refer most
specifically to the study of sensory stimulation as an architectural design tool.
Providing variety and flexibility within the architectural facility, incotporating the natural
world into the built environment and using architecture as a teaching aid, can become the
principles upon which future children's spaces are designed; but they can also be
inco1p0rated into existing facilities to improve them. It is in terms of these approaches
that the building examples referring to children's spaces in the following chapter will be
discussed and analysed.
80
CHAPTER6
APPROACHING ARCHITECTURE AS A SENSORY
STIMULATOR IN CONTEMPORARY BUILT FORM
81
6.1 THE BODJLY EXPERIENCE IN ARCHITECTURE: The Therme V als, Switzerland
6.1.1 General Information
The Therme Vals is a hotel and spa designed by Peter Zumthor which opened in 1996. It was
built over the only thermal springs in the Graubunden Canton in Switzerland. This building is
designed to focus completely on the experience of the human body and stimulation of the
senses.
6.1.2 Concept
The concept for the Therme Vals is in keeping with Zumthor' s emphasis on the sensory
aspects of the architectural experience. As seen in the illustration below, the idea was to
create a cave-like structure set into the natural landscape. From the outside, the design is seen
less as a building, but more
- as an earthwork.
, (Plate 6.0: General exterior view of the

Therme Vats. The bathing areas lie
below the grassed roof buried into the
hillside. Source:
www.daheenxxx.blogspot.com)
(Fig 6.0: Site plan of the Therme Vats,

highlighted in red. Source: Ryan,
1997: 42)
~~~~-, The Therme Vals is about

digging and moulding: it is
primary, archaic and
extremely sensuous (Ryan,
1997: 42). Working with the
82
natural landscape, the bathing chambers lie below the grassed roof, half buried into the
hillside. This cave-like structure, already situated within the naturally sensory setting of the
alpine hillside, stimulates the bodily senses even before the building is entered.
The spa is built from locally quarried, layered Valser Quarzite slabs. The stone has become
the essential driving inspiration for the design and has been widely used throughout
(O'Grady, 2009: 1).
The overall aim was to create a place of quiet, to discover the primal experience of bathing,
the therapeutic act of cleansing and relaxing in water, to enhance the sensation of water on
one's skin and to essentially create a
place where one can experience the
qualities of stone and other materials. As
plate 6.1 suggests, the spa and baths
were never intended to be the classic
tourist experience of aqua-gadgets and
water jets; but rather new spatial
experiences and physical sensations.
(Plate 6.1: The spa baths are not the typical tourist attraction; but rather, the sensual essence of bathing where the tranquillity
of water is explored. Source: www.architravel.com)
6.1.3 Material Palette
Since Zumthor's Thenne Vals are designed to appeal to the senses, it is only fitting that the
same thought be applied in the material selection process. Materials such as concrete, flamed
and polished stone, chrome, brass, leather and
velvet were chosen according to their highly
evocative qualities (Ryan, 1997: 42). Care has
been given to the use of these materials so that
they enhance the bathers' sense of embodiment,
when clothed or naked.
(Plate 6.2: Clos~up view of the layered Valser Quarzite slabs. Source: www.architectsjoumal.co.uk)
83
Layered Valser Quarzite slabs form the core material [plate 6.2]. The stone rooms were
designed not to compete with the body, but to rather flatter the human form and give it space.
The use of such materials is well demonstrated in the design of the changing booths. The
horizontally-laid stone wall is broken in five places, providing openings into the changing
booths.
Black leather drapes form a screen over each opening. Each changing booth has flush walls
of panelled, highly-polished, red mahogany
lockers and a single leather banquette. Each
material provokes a sense of warmth, inviting to
the naked skin. This material selection for such an
intimate space cleverly contrasts the cool
concrete, ~tone and metals used in the more public
areas.
(Plate 6.3: The changing rooms reveal the range of materials used. Mahogany wall panels and leather add a sense of warmth
to the space. Source: www.archdaily.com)
The final material used is bronze. Doors, handrails, signage, light fixtures and other detail
elements shown below, have been cast in bronze, adding life to a seemingly primal material
palette. Its dull metallic glow was selected to contrast the stone, cave-like structure, reflect
the light brought into the space by the slits in the stonework, and provide a sensory richness
to those elements touched by the
human hand (Ryan, 1997: 48).
(Plate 6.4 & 6.5: Bronze is used on detail

elements such as handrails and fountain
heads. Source: www.jpgmag.com;
www.notsoso.com)
84
6.1.4 Multisensory Design
The material selection and their use are one of the main aspects of the sensory design
approach. The touch, smell and even taste of these materials have been zealously considered.
Each material has been joined and carefully crafted to enhance or suppress their apparent
mass, thus enhancing their sensory qualities and impact on the human experience.
One 'material' within the Vals, often not thought of as such, is water. The experience of the
bather is manipulated through water temperature and how water has been enhanced through
the building design. Around the main pools, illumination comes from above [plate 6. 7]
thereby making the water seem much darker and cooler. In more private pools lit from below
[plate 6.6] the opposite is true, making the water appear wanner. Hot and cold rooms have
been lined with pink and blue terrazzo to focus the bathers' attention on the water surface,
rather than the surroundings (Ryan, 1997: 48). With such a design, it is evident that the
experience of the body through the senses is of primary
importance. The sensual quality of the space has been
considered before the purely visual quality.
(Plate 6.6, 6.7 & 6.8: The images below and left reveal the variety of
spatial experiences created in the bathing areas. Light from below [plate
6.6] and above [plate 6.7] alters the perception of the water, thereby
enhancing the sensory experience. Source: www.mimoa.eu;
www.architravel.com)
The aural
experience of the
space has been
carefully
considered. The
Therme Vals
enhance the silent,
primary experience
of bathing, while at
the same time the
85
users find pleasure in the unique acoustics of bubbling water. Various bathing pools have
been designed to enhance the acoustic effects of bubbling water, fountains and still water in
their room proportions, material choice and their absorptive or reflective qualities (O'Grady,
2009: 1).
Within the spatial arrangement, combinations of light and shade, open and closed areas, and
narrow linear elements have resulted in an experience that is restorative and sensual. Around
the massive stone shafts that form the
monolithic walls, slivers of sunlight,
seen in plate 6.9, are permitted to enter
from above and through vertical slits in
the stone (Ryan, 1997: 44).
(Plate 6.9: Light and shade are combined 1n each space providing contrast. Slivers of light enter the pools through narrow
slits in the stone walls. Source: Ryan, 1997: 44)
6.1.5 Spatial Experience
The Therme Vals is a labyrinth-like, buried world of solid and void (Ryan, 1997: 44). The
main pool is a central, rotational space around which other areas are located. Such a space
avoids a sense of disorientation by providing a central focal point or landmark. This is
highlighted in orange on the illustrations following. The underlying informal layout of the
internal space is a carefully modelled path of circulation, which leads bathers to certain
predestined points, but also allows for private exploration of other areas. This circulation
path, known as "The Meander'', is essentially a designed, negative space that flows
throughout the entire building, connecting the bathing blocks. Throughout the circulation
paths, the perspective is always controlled, either ensuring or denying a view (O'Grady,
2009: 1 of 1). In the figure 6.1 and figure 6.2 following, the yellow highlighted area shows
the circulation space which is essentially negative space. The baths and usable areas are
found in the positive space around which the circulation flows.
Moving through the Therme Vals becomes a journey of discovery in which users enjoy
exploring the spa's nooks and crannies. Allowing users to determine parts of their own
86
journey aids identification and ownership of the space; ensuring the experience is memorable
and unique. Such a design reinforces the physical, bodily experience of the space. The human
body is able to choose its path of movement and follow its natural instincts without being
forced in any way.
FIRST FLOOR
CIRCULATION AREA
: : CHANGE BOOTHS
: BATHING POOLS
f
"'
GROUND FLOOR
(Fig 6.1 & 6.2: Ground and first floor plans reflect the meandering paths of circulation where bathers are directed through
the building while still being able to determine parts of their journey. Nooks and crannies to be explored are evident in the
spatial layout. Source: Steiner, 1997: 28)
87
6.2 THE SIGNIFICANCE OF SPATIAL LAYOUT IN MULTISENSORY
ARCHITECTURE: Kiasma Museum of Contemporary Art, Helsinki
The Kiasma Museum of Contemporary Art was design by Steven Holl Architects, in
conjunction with Juhani Pallasmaa
Architects. It was completed in
1998 and has since won the 1999
National AlA Design Award.
(Plate 6.10: Image showing the general f~de
of the Kaisma Museum of Contemporary Art.

Source: www. flickriver.com)
6.2.2 Concept
The concept of the building involves the building's mass intertwining with the geometry of
the city and landscape, which are reflected in the unusual shape of the building. In figure 6.3,
one can see how the
C:'~ ............~"'~ ;"\
:..t\ ' \
~
·"""'";;...:~
\ "'
~ - -""'
....,._'.::· ••_ .......-" •.,
..._,~" ......:;..1·( ·" .t:'·~-....... .,, .... unusual shape of the
....,. .. •....................~-., ., j '9--· . /" -
' \ ·*" ,,}.l/ '"'-·;.- "J ~v /'.,. a 'i' - building reflects the
.. .A."'' ·. .--~ ~ ~~ c~~
. '"'9 :, ·~J. ·-~---''!.... ,.........~;·'

. ·;~· .... , lA;; ..... ..
f'• l
<-. 'Y:,."
If .... - . ... \
~:-· ~ ~
' \ , ...... '\. • . ,. . ··'\
ft
., i \'
_.,. ..··c~.;:':.·-·· ·/ intertwining of the
'<< < ~~\:-. .~,.... .··'8
. ;t~---~~~~~~~·~.~-·-··-·· .-·· , geometry of the city and
"'~"'
.....-
,p• ,\.,v·
) ., f;
/2. ' .·., . -·. ·-~-·····
.-
...e ..-
. . -• --·__· ·
-~t~~:- ·. · ~ _
-.. -- -,; ---:. ' j • .. \\ If
~-
1
~
"": . ·
r·
••\ landscape.
" ,· )/ . . ,::,..~'\ .:::.·· . ::--~ J ·. -,"; r
L II J... * J
.... .... •
-.::;;.' ·-
-- - :>. r
;" - - .,. ~
~ -: __-;- ll r~ ~
4 ~.:~
.. .~ L ' t . .• 4 ~ I .
.
\ • :..;..•_:. ••:·---.• -.
=. \: -·r -~--·r --
( 1 ~ ..- - - -... ?cj~-~-~ I.J •- .... . (Fig6.3:SitePlanillustratesthe
. . ... _...,
\ city geometry and its influence
'\ on the planning. Source:
' Lecuyer, 1998: 48)
88
The intersection of three lines fonned within the city fabric is the generator of the
architectural design (Lecuyer, 1998: 46). The connection between the museum and the water
and green space shows an integration of sensory elements, not just in the building, but in its
urban context as well. Significant, is that the experience of the building begins in its context,
not just as one enters through the doors.
An important part of this concept was to create a building that provokes a unique experience
by each visitor. There is no single, specific way the building is intended to be viewed or
experienced. The most important aspect of the design is to rather offer space and possibilities
for different interpretations and understanding (Kiser, 2009).
6.2.3 Variety of spaces
The Kiasma Museum of Contemporary Art provides a variety of spatial experiences. Two of
such spaces can be seen in the illustrations below. One more formal, rigid space [plate 6.11]
is contrasted with another more organic fluid space [plate 6.12].
(Plate 6.11 &, 6.12: The interior spaces are unique, each with its own mood and
character. Source: www. helsinkitraveller.info; www.wayn.com)
Exhibition spaces needed to be provided for a range of artists and their style of artwork, thus,
various spaces were designed with unique spatial features, enhancing the bodily experience
within. A silent, yet striking backdrop is created for the exhibition of artwork. This has been
achieved through the subtle curve of one wall in predominantly rectilinear spaces (Kiser,
2009). This curved element is illustrated in the following photograph in orange.
89
(Plate 6.13: The curved wall is a common feature of most spaces,
adding character and drama to the space. Source: www.styleforum.net)
These rooms are intentionally designed to be silent,

yet not static, differentiated through their irregularity
and unique character. The curved wall invites the
body to flow through the space with one hand trailing
the textured surface.
6.2.4 Spatial Journey
A significant feature of the Museum is the vertical circulation.
VERTICAL CIRCULATION TAKES

CURVED GLASS WALL ENHANCES
THE FORM OF A CURVED RAMP.
BUILDING EXPERIENCE
AND WINDING STAIRCASE
•' • • •
•••••••••• VERTICAL CIRCULATION ROUTES
•••••••••• CURVED WALL
(Fig 6.4: Longitudinal cross-section. Vertical circulation is via a curved ramp. Source: Lecuyer, 1998: 49)
It has been designed as an architectural promenade that emphasizes the visit to the building.
A long, curved ramp that links the different floors, allows visitors to slowly immerse
themselves in the Museum' s atmosphere. This is highlighted in purple in the longitudinal
section above.
90
THE HORIZONTAL LIGHT OF THE NORTHERN
LATITUDES ENTERS THE BUILDING IN
MULTIPLE ANGLES THOUGH SKYLIGHTS
(Fig 6.5: Cross-section showing multiple
skylights and curved wall. Source:
Lecuyer, 1998: 48)
WINDING -kf-~~~~
STAIRCASE Such means of circulation
enables an open, interactive
viewing, inspiring the visitor to
choose their own route through
the galleries. This curved,
··········VERTICAL CIRCULATION ROUTE unfolding sequence of spaces
•••••••••• CURVED WALL ADDS CHARACTER
AND INTEREST TO GALLERY SPACES provides elements of mystery
and surprise and provokes moments of pause, reflection and discovery (Kiser, 2009). The
multiple means of movement, and meandering path is reflected in the first floor plan
following.
• ......... MULTIPLE CIRCULATION ROUTES

WIND THROUGH GALLERY SPACES
•• ••••• •• • CURVED WALL
(Fig 6.6: First floor plan of the Museum below shows the winding circulation through galleries. Source: Lecuyer, 1998: 49)
Such spatial experiences do not exist in a typical single or double-loaded, orthogonal

arrangement of space. The open-ended spatial system suggests an expanse that lies beyond.
The asymmetrical layout drives movement through a series of spatial sequences, each with
unique bodily experiences and character (Kiser, 2009).
91
6.2.5 Tactility
Not just the form of the building is responsible for giving it its identity, but also the
combination of colours and materials used. The exterior of the building is composed of a
variety of contrasting materials whose qualities stimulate the senses. The exterior side walls
are made of thick aluminium sheets which have been sanded [plate 6.14]. The light is thus
reflected off the building in a multitude of ways, depending on the angle of the sun. The
curved walls and roof are covered in zinc panels which will weather over time. The north and
south elevations contain brass panels that have a copper-coloured finish [plate 6.15]. These
materials are used for the specific purpose of engaging the senses of sight and touch. Their
ever-changing qualities means the building is unique every time it is experienced.
(Plate 6.14 & 6.15: Ute copper panels and zinc side-cladding on the curved wall is seen above. Aluminium sanded sheets on
the straight exterior side walls reflect the sunlight. Source: www.helsinkiinstyle.fi, aedesign.wordpress.com)
In creating spaces that are unobtrusive and fitting for the purpose of exhibiting art, the
internal shell of the spaces has been kept neutral, predominantly made of concrete and
plastered walls. Elements such as columns, window openings etc. have been intentionally left
unarticulated to provide a clean canvas for showcasing art. The architecture has rather been
expressed through details such as door handles, stair edges, railings and various elements that
come into direct contact with the human body. Each detail has been specifically designed to
create maximum impact and enhance the experience. Importance has been given to those
aspects of architecture that stimulate the sense of touch, rather than purely focusing on
pleasing the eye (Kiser, 2009).
92
(Plate 6.1 6: Interior images reveal the
tactile qualities of those architectural
elements that connect with the human
body. For example: railings, wall finish
0 HANDRAJL HEJGHI$ and floor finish. Source: www.
COMFORTAN9
kiasma.fi)
The palette of finishes for the

gallery has been carefully
thought out. Rough plastered and white painted walls are used to encourage touch and are
animated by the unique light conditions. The floor is a black, dyed concrete which has
become a composition of muted shades of grey.
Through the finishes, a sense of life is brought into
the space while remaining muted and cool. Acid
reddened brass is used as a marker of significant
building features, such as railings, seen in plate 6.17.
The brass is also cool to the touch and striking to the
eye, revealing its provocative, sensory qualities
(Lecuyer, 1998: 50). Here one sees the importance
placed upon those aspects which come into contact
with the human body.
(Plate 6.17: The use ofbrass on the railings contrasts the rough plaster behind. Source: www.archinect.com)
6.2.6 Use of Light and Water
Natural elements such as light and water have been used to their full potential in the design of
the Museum. Natural light has been introduced well into the building. Particular to Helsinki,
is the horizontal natural light of the northern latitudes. The slight variation in room shape and
size, due to the gently curving section of the building, allows natural light to enter in several
different ways. The following illustrations show the different light conditions created in
various spaces. Deep shafts carved into the curved profile bring light into the middle level
galleries (Lecuyer, 1998: 48).
93
(Plate 6.18 & 6.19: A variety of light conditions are created due to the innovative use of skylights and exploitation of the
horizontal light of northern latitudes. Source: www.hebert.kitp.ucsb.edu; www.architravel.com)
The natural illumination in each room is slightly different, enhancing the unique character of
each room. The curved roof allows secondary sand-blasted skylights which provide even,
filtered light into spaces. The use of natural lighting prevents the building from becoming
static by enabling the interior of the building to be constantly changing with the time of day
and year (Lecuyer, 1998: 48).
In the landscape plan, the Tssl.S Bay has been extended up to the building. In plate 6.20, the
water can be seen up against the edge of the building. The horizontal light is enhanced by the
waterscape that acts as an urban mirror. The water extension intertwines with, and crosses
through the body of the building, and falls to a small pool at the lower ground level. The
sound of moving water can be heard when walking through the building thus engaging the
auditory sensory mode. The water is allowed to freeze in the winter months further enhancing
the ever changing seasons and
strengthening the connection between
the building and the environment it
occupies (Kiser, 2009).
(Plate 6.20: Water extends up the building edge as

well as passing through the Museum. The sound of
moving water can be heard within the central area.
Source: www. locationguide.fi)
94
6.3 APPROPRIATE SPACES FOR CHILDREN: The Children's School, United States
The Children's School, located in Stamford, Connecticut, United States, was designed by
Maryann Thompson Architects. Completed in 2007, the school has a capacity for one
hundred and twenty pupils aged two to eight years.
The school's mission to "take young children seriously" has come to life in a new building,
Jf - . with the architects
designing a much more
innovative and daring
model for learning
environments than the
traditional "school-as-a-
box" (Martin, 1998).
(Plate 6.21: Overall view ofThe Children's School. Source: www.imagineschooldesign.org)
This building is significant to be studied, as it shows a new approach to learning that is based
on interaction with the environment and sensory stimulation. The architecture facilitates such
an approach by becoming a tool through which learning is encouraged. The building also
highlights an understanding of the way in which children interact and learn from the
environment, through physical experience, stimulation, exploration and play.
6.3.2 Concept
The school is based on the concept of a "one room schoolhouse" and has been specifically
designed to support their child-centred teaching methods. The approach is based around
learning in an environment which stimulates natural instincts and self-directed learning in
children. The teacher becomes merely a 'guide' who can manipulate the environment to
appropriately stimulate the child and encourage learning. The one room concept is a
response to this, enabling different kinds of activities and renewals to occur within the space,
as well as ease of observation (Martin, 1998).
95
The understanding that a school' s ' built world' can be a powerful teaching tool in its own
right is evident in the design. The essential role that the physical enviromnent plays in
heightening a child's curiosity and shaping his or her sense of well-being, is expressed in the
focus on the natural landscape and its relationship to the interior of the building.
6.3.3 Flexibility of Space and Learning
Designed as one open space, the school encourages the free movement of the child through
different learning areas. The main learning spaces flow as a single space but have been partly
separated by unobtrusive elements such as changes in floor level, low, movable furniture and
shifting roof planes. Such spaces within the building allow multiple functions to occur within
and enable children to freely move through various learning areas. No space is prescribed
with a set function or size. They are easily adaptable to create a variety of situations and also
a variety of large or small group sessions (Martin, 1998). The ground floor plan is analysed
below. The flexible learning spaces are highlighted in yellow. Blue areas show covered
external spaces that can also become learning spaces. Green arrows show the connection to
the outdoors.
t
O UTDOOR
COVERED AREA.
lt _. , i~
t~
CEARN•NGARfAS
:..:::_ (. . ij I 1
......
I J I
f
,,
>J. LOW.MOVA~LE· : 1[1"
FURNITURE }~ .. _. ~
. ;:::}
. •..
' .
www.imagineschooldesign.org)
96
The varied roof planes also help to define the classroom spaces without the use of solid walls.
Changes in ceiling height between the roof levels create a sense of transition as one moves
from one space to another,
even though no formal
threshold is present.
(Plate 6.22: Interior view. Spaces that

bleed into one another are defined by
low, movable furniture. Source:
www.imagineschool design.org)
The concept of flowing spaces continues into the relationship between the interior and
exterior through visual and physical access. Large floor to ceiling windows and open flexible
space with low furniture is evident in plate 6.22 above.
6.3.4 Indoor I Outdoor Relationship
In The Children' s School, the open plan nature of the school and vast expanses of glazing in
the walls and roof, allow the surrounding woodland to be visually and most often physically
accessible from each space. The roof planes, opening out into the surrounding nature,
maximise views and encourage movement towards the outdoor areas (Martin, 1998). The
transition space has been sensitively designed with large overhangs for shading.
(Plate 6.23: The Children's School shows a strong relationship between lhe indoors 11nd outside. Source:
www.worldarchitecturenews.com)
97
The transitional space between the interior and
exterior environment has been well designed with
large overhangs accommodating covered outdoor
lessons.
(Plate 6.24: The transition space is carefully thought out with large
overhangs providing shaded space to gather. Source:
www.topboxdesign.com)
6.3.5 Integrated Environmental Design
The Children's School is designed to tread lightly on the earth and is one of the first LEED
Certified schools in Connecticut. Its natural setting lends itself well to a 'green' approach to
building. With its varied roof planes, the way in which it seems to nestle within the forest
landscape and careful orientation taking full advantage of the sun, reveals that the project has
more than a purely functional purpose. The building and intrinsically connected grounds are
to inspire young children to be good stewards of the earth's resources and to understand the
importance and appreciate the beauty of the natural world (Martin, 1998).
The careful orientation and thought behind the planning of the school can be seen in the east-
facing wing being occupied by the younger children, as they only attend school in the
morning. The west-facing wing is occupied by older children, to take advantage of the
western light.
The building has a passive solar design with large south-facing windows to capture views and
also cross-ventilation in order to extend the seasons in which heating and cooling are not
necessary. Such environmental elements are highlighted in the analysed site plan following:
98
FOREST AREA BEYOND
VIEWSTO THE SOUTH OPTIMIZE

NATURALU9HTIN~ t
~OLDER/a · -
' Z_C~ILD~
Q CUPY ._-- ' 1
Sl"WINCS
.\
u
FOREST
AREA
BEYOND
(Fig 6.8: Site plan showing careful orientation and relationship with the natural setting. Source: www.imagineschool
design.org)
Rainwater collection from the roof planes is used to create a waterfall in the landscape and
deep roof overhangs prevent overheating in summer. It serves a dual function in providing a
larget outdoor, sheltered learning area. All interior finishes are free from volatile organic
compounds (VOC's) and natural, recycled or locally sourced materials have been used where
possible. Such environmentally sensitive design features instil values of conservation and
stewardship in the pupils (Martin, 1998).
6.3.6 Unique Design Features
The use of materials invites children and adults to participate with the building and
experience it as a tactile entity. External timber cladding has been used on the wall and the
soffits of the extended roof planes. In some
areas [plate 6.25] these timber soffits
continue internally and further blur the
distinction between interior and exterior.
(Plate 6.25: Timber cladding on the exterior soffits extends

into the building reinforcing the relationship between the
interior and exterior. Source: www.imagineschool
design.org)
99
The trellis and louvers on the
upper portion of glazing creates a
multitude of different lighting
effects and patterns on the
interior floor and walls, seen in
plate 6.26.
(Plate 6.26: The louvers create interesting patterns oflight and skewed roof planes permit shafts oflight between their forms.
Source: www.imagineschooldesign.org)
The skewed roof planes that subtly tilt against one another let light in from above and
between their forms, creating shafts of light at various times of the day.
The interior design is vastly different .to that found in most schools today. The walls are
painted brilliant white, contrasting the maintainable and practical dark carpet. The use of
colour is kept to a minimum yet the space inside is far from stark or bland. The angled roofs,
warm timber, reflective wall surface and patterns of light bring life into the space in a manner
completely different to the multi-coloured, garish classroom interiors in most schools
"«.~.:as:GJ•IP.IIWI (Martin, 1998). The interior
~t:luak~
design is best observed m

plate 6.27.
(Plate 6.27: Colours are muted and

kept to a minimum. The use of
timber, interesting lighting and the
contrast between light and dark
furniture adds life and interest to the
space. Source: www.irnagineschool
design.org)
100
6.3.7 The Child's Experience
The school design has created a unique experience for the pupils it serves. The child's natural
desire to wander, explore and interact with the environment has been enhanced through the
innovative use of indoor and outdoor space, as well as the connection between the two.
Spaces have been vertically broken down and varied, thereby reducing its apparent scale to
remmn in keeping
with the scale of the
child. The analysed
illustration shows the
height variations
which make the
spaces usable by
adults while still being
'child-orientated.'
(Plate 6.28: Changes in the vertical heights reduce the building scale making it appropriate for children and adults alike.
Source: www.imagine schooldesign.org)
The stimulation of the senses through the material palette, interesting lighting, spatial
volumes and focus on the natural outdoors and its interior integration, has converted what
could have been a simple school building into an exciting journey that encourages learning,
play and engagement with the environment. The sequence of spaces takes the child on a
journey through it. During the sequential movement through the spaces, the child also
experiences the unfolding of the landscape into the building.
A playful atmosphere of 'hide and seek' has been created through the design of a number of
intimate spaces and details. A small library is tucked into a comer under a low roof plane,
with an inbuilt window seat hidden between the bookshelves [plate 6.29]. Such spaces allow
for a sense of privacy and quiet reflection.
101
(Plate 6.29: A corner window seat is tucked between the book
shelves. Such spaces allow for a unique experience and promote
exploration and identity with the space. Source:
www.irnagineschooldesign.org)
In another area, an entire wall has been

converted into a whiteboard, providing a place of
gathering without the white board being the focal
point around which all furniture is oriented; as seen in most schools today. Through all these
unique design features, the building stimulates a child's desire to wander, explore and interact
with their environment. In order to fully understand it, the building must be occupied and its
spaces engaged.
102
6.4 DESIGNING FOR CHILDREN IN THE SOUTH AFRICAN CONTEXT: Thembelihle
Creche, Montie Factory Creche and Olifantsvlei Creche, Johannesburg
Facilities for preschoolers are constantly found lacking in impoverished areas, where AIDS
and unemployment rates are high. Three locations within the informal settlements around
Johannesburg were identified as in need by a group of Austro-German students. Based on an
experiential teaching programme, these students undertook the design and construction of
three creches, namely, Thembelihle Creche in Weilers Farm, Montie Factory Creche in
Heidelberg and Olifantsvlei Creche in Olifantsvlei. Since these facilities are part of one
venture and the design approach is almost identical, for the purpose of this dissertation, they
will be studied as one scheme.
6.4.2 Spatial Planning Principles
-:r
.. ~
(Fig 6.9: While simplistic, the floor plan above
shows the abundance of outdoor play spaces
and area of glazing. Source: Joubert, 2009:
163)
COVERED OUTDOOR
PLAY AREA
CLASSROOMS
The plan of the Olifantsvlei Creche
KITCHEN [fig 6.9] shows the planning
ABLUTIONS
- GLAZING
principles and spatial layout of the
facility. While the size of the
scheme is relatively small, the
dynamic and flexible use of space
is to be noted. The classroom
spaces open out onto a well used
covered play area and divide this play area into numerous smaller areas for different types of
play to occur in each. These covered outdoor spaces are essential as they enable important
outdoor play in all weathers, and protect the internal spaces from inclement weather and
103
direct sunlight. Glazed windows open up on all sides of the building providing maximum
lighting all year round and in all weather conditions, thereby reducing electricity costs.
6.4.3 Material Palette
The choice of material was primarily based on the fast-paced construction process needed.
Thus, timber, steel posts and rafters and corrugated sheeting have been used as they are
lightweight and quick to erect. In contrasting
CORRUGATED IRON SHEETING
these materials against one another, they are
used to their full sensory potential. The
inclusion of a greater variety of materials
however, would improve the tactile and
experiential qualities of spaces.
(Plate 6.30: Exterior photograph reflects limited material

palette. The use of a greater variety of materials would
enhance the tactile qualities of the building. Source: Joubert,
2009: 167)
Gravel is a material not often well recognised in terms of its many attributes. In the creche
facilities here, it has been used abundantly and performs many functions. It is used on the
perimeter of the buildings to disperse rain and prevent rain splatters ruining the external
walls. Gravel has a rich, aural quality underfoot, thus creating an acoustic transition between
the indoors and outside spaces. The small pebbles can also be used as part of children's
games.
Shade cloth in various colours has been successfully used. It provides solar shading while
allowing filtered and colour light to penetrate. The coloured ground becomes part of the
sensory experience. This shading method creates contrast between light and solid elements,
further enhancing the experiential qualities of the space.
104
(Plate 6.31, 6.32: Use of
coloured shade cloth
provides a unique
experience of contrast.
Source: Joubert,2009: 164-
165)
6.4.4 Recognition of the Scale of the Child
The design of this building has done well to take the scale of children into consideration.
Large, oversailing roofs gives the building height and prominence, while the lower portions
beneath are in keeping with the scale of the child. The variations in height and lowered,
colourful windows establish the creche as a place primarily for children and instil a sense of
ownership and pride over the facility. Such a sense of belonging is imperative to children's
development and self-
identity.
(Plate 6.33: The oversailing

roof and lowered elements
recognize the scale of the
child. Source: Joubert, 2009:
166-167)
OVERSAILING ROOF
(Fig 6.10: Elevational view further

reflects the vertical height variations.
Source: Joubert, 2009: 163)
east elevation
105
6.4.5 The Building as a Toy
The three facilities show how a building for children can function as a toy. Children are
welcome to climb on the building, hide in the small niches provided, and use it as part of their
games. This is a significant
aspect to the design of such
facilities as it lowers the need
for additional toys and
playground equipment, which
may be difficult to fund or
source in poor communities
such as this.
(Plate 6.34: The building is viewed as toy on which children are able to climb and play. Source: Joubert, 2009: 167)
106
CHAPTER 7
REGIONAL RESPONSE TO SENSORY STIMULATION AS A
TOOL IN THE DESIGN OF CHILDREN'S SPACES
107
INTRODUCTION
This empirical study of Roseway Waldorf School in Assagay, Seven Fountains School in
Kokstad and Shayamoya Community Centre also in Kokstad which follows, has been
selected as relevant to the topic of sensory stimulation as an architectural design
generator, as each show a learning environment for children which incorporates much of
the theoretical fmdings discussed in the preceding review of literature.
7.1 ROSEWAY WALDORF SCHOOL, ASSAGAY
7.1.1 INTRODUCTION
The Roseway Waldorf School is a learning facility based on the educational philosophy
of Rudolf Steiner. Waldorf education teaches pupils to learn from life, through doing,
making and interacting with the environment.
Educating learners from play school to Matric, the curriculum places emphasis on
practical work, which includes activities such as handwork, woodwork, gardening,
metalwork, craft and design.
Particularly in the lower classes, interaction with the environment, imaginative play,
sensory stimulation and a love of nature is encouraged as a major source of learning. The
building design aims to facilitate this approach to education.
7.1.2 JUSTIFICATION OF CASE STUDY
The Roseway Waldorf School provides insight into an alternative approach to education
that focuses on enhancing and using the natural manner in which children learn and
develop, through play, exploration and stimulation. This knowledge is reflected in the
108
concept, design and details of the buildings and in the layout and design of the
surrounding areas. The study of such a school aids this dissertation by revealing the
benefits of designing spaces for children that are based on physical interaction with the
environment; an understanding of how children are impacted by their environment; and
incorporating nature, a natural stimulator, into the building design. In addition to this,
there are numerous other aspects of designing for children that the study of this school
will bring to light.
The Roseway Waldorf School, as mentioned, focuses on integrating the natural outdoors
with the learning process. It is interesting to note how the school's architecture has been
designed to facilitate this approach to teaching. Not only is this to become evident in the
indoor-outdoor relationship, but also in the overall spatial planning and site layout. The
urban context is also to be analysed in this regard, to determine the significance of the
site and its context to the learning process. The location and context ofRoseway Waldorf
School greatly contrasts that of the Seven Fountains School, thus allowing comparisons
to be made and conclusions drawn.
The sensory approach to design justifies this case study as relevant. The importance of
tactility and engaging with the child's sense oftouch is evident. This is to be seen in the
material choice and added tactile features. The stimulation of the other senses and how
that has been incorporated into the built form, is also apparent.
One of the focuses ofthe school is to enhance children's sense of identity and self-image.
By studying this building, it becomes evident how this can be achieved through the built
form and the role that pupil participation in the creation of their environments plays in
enhancing the child's sense of identity and concept of self. Through participation in the
building process, one is also able to see how respect for their environment is encouraged.
The architecture of this unique school exposes how the built form and design of interior
and exterior spaces can influence the 'spirit of place' and how a sensory stimulating
building can beneficially impact its users, particularly children. The impact of nature
109
within the school and in its urban context on the creation of a 'spirit of place' will
become evident.
The fmal aspect which justifies this study is the focus it puts on the psychology of the
place experience for children. This is evident in the variety of spaces, scale of spaces and
the creation of unique places for children to explore and experience. The way children are
affected by their environment has been well considered in this school, and provides
lessons to be learnt for the future design of children' s spaces.
7.1.3 LOCATION
Roseway Waldorf School is located within a conservancy on top of Alverstone Hill, ten
minutes outside Hillcrest. Surrounded by farmsteads, forested areas, green valleys and
fresh air, the site for the school is perfectly suited to the educational environment that
Waldorf schools aims to
create. The main access
route is along Alverstone
Road, which feeds off
both the N3 and M13.
Thus, while being situated
in a seemingly remote
location, it is easily
accessible.
(Plate 7.0: Aerial view ofRoseway

Waldorf School showing location
and sunoundings. Source:
www.googleearth .com)
110
7.1.4 HISTORICAL AND SOCIAL CONTEXT OF CASE STUDY
The Roseway Waldorf School in Hillcrest was founded in 1985 by a group of six families
and three teachers. The school opened in February with just eight children, ranging from
Grade 1 to Grade 3. Temporary premises of a small farmhouse in Alverstone had been
obtained through a local businessman, Mr John Rumble. Today, these premises form the
Kindergarten and staff housing.
In a short time it became evident that space was running out and a "proper" school was
needed. Mr Rumble donated seven acres of land adjacent to the existing farmhouse, and
plans were drawn up. A Foundation Stone-laying ceremony was held in September 1988
on the new site.
In September 1990 the refurbished school was officially opened by Elizabeth Sneddon.
The Roseway Waldorf School is primarily supported by communities within the Hillcrest
and Kloof areas. However, there are a number of learners from the Westville, Pinetown
and Durban areas. The school is family orientated, offering many opportunities and
events for interaction with the parents throughout the year. Discounted fees are also
offered for families with multiple children attending the school.
The school welcomes all students from different walks of life, and there is no
discrimination on the basis of colour, national origin, race, religion, sexual orientation,
age, or handicap in the admission or financial aid policies and practices.
7.1.5 EMPIRICAL DATA
7.1.5.1 Spatial Layout and Planning Principles
The illustration following, shows the various buildings of the school. The Kindergarten
and Aftercare are housed within the old farmhouse buildings, while the High School and
Primary School are in the new additions. Each age group has been separated and
designed specifically according to their needs.
111
(Plate 7.1: Aerial view showing the overall
school layout and position of various age
groups. Source: www.googleearth.com}
The following site section sketch

[figure 7.0] illustrates how the
school sits on its relatively steep
site. Buildings have been broken
up and the site has been terraced
to accommodate the necessary
facilities and buildings. Views over the Alverstone nature conservancy have been
maximised by using the site profile as part of the design.
MAXIMIZE
VIEWS
KINDERGARTEN
(Fig 7.0: Site section sketch showing the use of terracing and maximised views. Source: Author's sketch)
The Primary School and High School buildings are designed around a central, green
courtyard space. This
reflects the importance of
nature and provides a
communal gathering space.
(Plate 7 2 : Aerial view shows the

primary school layout. All classrooms
open onto the grassed courtyard space.
Source: www.googleearth.com}
112
The relationship between the indoors and outdoors has been enhanced through the
building layout, as each classroom has direct
access to the outdoors (plate 7.2 and plate
7.3). Courtyard spaces, large verandahs
outside the classrooms, and trees surrounded
by benches, enable classes to take place
outside [plate 7.5].
(Plate 7.3: Aerial view shows the high school layout. Direct
access to the outdoor is provided in each classroom. The
central courtyard space is ideal for lunch breaks. Source:
www.googleearth.com)
The following illustration shows the relationship created between the indoors and
outdoors. Classrooms open out on to a large shaded verandah providing covered space for
outdoor lessons. Beyond this is the sunlit grassed area. The transition space between
indoor and outdoor has been carefully thought out creating a pleasant transition between
the classroom space and outdoor
space.
(Plate 7.4: Doors such as this connect the high

school classrooms to the natural landscape outside.
Large verandahs also provide outdoor teaching
space. Source: Author)
(Plate 7.5: Benches sunound old trees enabling

lessons to take place outside. Source: Author)
Classroom layouts are unique, far from

the rectangular classrooms in many
schools today. No two classrooms are identical, providing a new experience of space
within each. Unusually shaped rooms and angled or curved walls allow for different desk
113
layouts to be achieved in each classroom; fitting for the variety of subjects taught. Thus,
the importance of flexibility of space and non-structured learning environments has been
achieved.
[}[}\_'?~
[}1}\Jt\l'
[} n, fr \\..
·----- - ·-
(Fig 7.1: Three different classroom layouts in the same space illustrate flexibility. Source: Author's sketch)
7.1.5.2 Aspects of Environmental Sustainability
At Roseway Waldorf, children are encouraged to learn from and enjoy nature, and are
unrestricted to its access. Caring for the environment is also important, and
environmentally sustainable practices have been employed which the children are part of
enforcing. This is done in a number of ways:
Children from kindergarten upwards are taught gardening and have responsibilities of
pulling out weeds and planting. Each primary classroom has a rack of gum boots and
gardening tools easily accessible outside the classroom door. This is particularly
significant in the context of South Africa, as our climate allows for such activities to
occur. These skills can also be brought into the children's home environment, thereby
benefitting the entire community.
The kindergarten has a vegetable patch and low planter at the children' s height, thus
recognizing and designing according to the scale of a child. The produce is used in the
making of children' s lunches.
114
•.. ·-· - r·
.[ :
(Plate 7.7: Low planters are built at the correct height for
children to access (above). Source: Author)
(Plate 7.6: Racks of gumboots sit outside each classroom
(left). Source: Author)
Recycling of materials is promoted and all classroom refuse is sorted by the children.
Water recycling is used in an innovative manner. In the kindergarten garden, rainwater
flows from the roof and is used to fill and replenish the frog pond. This is an interactive
teaching opportunity created to express the importance of saving water.
(Plate 7.8: Rainwater fills Jo-Jo tanks and is used to fiJJ water
features and water gardens. Source: Author)
(Plate 7.9: Recycling of refuse is encouraged and recycling
facilities are provided on the school grounds. Source: Author)
The choice of materials is another environmentally sustainable aspect of the school.

Natural materials have been selected for much of the building design as well as outdoor
play equipment. Hard plastic jungle gyms are replaced by wooden, bio-degradable play
equipment and toys.
115
(Plate 7.10: Wooden play equipment is preferred as it is environmentally sustainable and fits into the natural landscape.
Source: Author)
7.1.5.3 Materials and Tactility
The Roseway Waldorf School reflects the importance of the tactile sense in its varied use
of materials. Materials chosen
are primarily natural and are
used to encourage the sense of
touch to be engaged. Stone,
brick, smooth and rough plaster
and wood are used on the
building fa9ades.
(Plate 7.11 : A variety of materials used on

the building exterior enhances the tactile
qualities of the space. Source: Author)
Floor textures consist of gravel, brick paving, tiles and screed to alter the feel underfoot,
thereby differentiating between spaces. The acoustics of each material adds to the aural
quality of the experience. Mosaic tiles and coloured pebbles have been inlaid into paved
116
areas, further highlighting the textw'al
quality of the floorscape. It is evident that
the importance of the floorscape, due to
the lower eye level of children, has been
recognized.
(Plate 7 12: Screed floorl n ~ ts warm underfoot, addmg another dimension to the tactile quality of the space. Pebbles
lnln!d create texture and variation& in the Oooring. So urce: Author)
(Plate 7.13: Mosaic pavers create an interesting floor

texture and highlight significant areas of the building.
Source: Author)
In numerous areas, wall motifs and

mosaic work adds to the tactile
experience of the space. One is drawn to
the undulating surface and is encouraged ~o not just visually experience the design, but
feel to it with the hands as well. Children are urged to physically engage with the
building surfaces through
sight and touch.
(Plate 7.14 & 7.15: Mosaics and

textured wall features invite the hands
to feel the surface, rather than just see
it. Source: Author)
117
7.1.5.4 Applied Principles of Children's Design
The Roseway Waldorf School shows evidence that is has been designed according to the
way children interact with the world around them, and learn from their environments.
The importance of play and using the imagination can be seen in the building and garden
design. All areas are used to their full potential to stimulate the imagination and
encourage free play to occur.
Large general areas are provided for group activities. Smaller, more intimate spaces are
designed to encourage moments of quiet reflection and small group gatherings to occur.
Smaller nooks seen in the sketch plan below have a lowered ceiling level, thus in keeping
with the scale of a child. These spaces also show evidence of the recognition of the
importance of personal, more private space in children's development and place
experience. Having these spaces enables time for imagination, escape, safety and
creativity through active place making and place attachment. These principles have been
carried out into the garden design as well
ALCOVES & NICHES ADDED
l _-- ...!
ARCHES 'r 1
DIVIDE_..!&. \ , FURNITURE
c: SPACE '' \"'
J
u CRAFT&
LUNCH AREA
PLAY AREA 1
--- ---
,., PLAY AREA 2\
I
-
\
- -
~N liiiiTHiiiEiM'E•P•U.:...~A·REA·SiAfiREiiiiiJiij
ENCLOSED WITH FURNITURE
(Fig 7.2: Inside has an open plan layout. Large, general areas allow fur group activities to occur. Niches, shown in
yellow are more private spaces. Source: Author' s sketch)
118
(Plate 7.16: More intimate spaces
for reflection and quiet play are
created in the garden spaces, where
nature provides natural hiding
spaces and places of refuge.
Source: Author)
Alcoves and niches allow

children to explore and
discover new things,
which are fundamental to
their growth. The variety
of spaces provided allow
for a variety of play and
learning opportunities.
This is an essential
component of the success
of the Kindergarten.
(Plate 7.17: Additions to the original fannhouse are in the form of alcoves that are furnished with different themes.
These places allow for a variety of play opportunities. Source: Author)
GENERAL
PlAY AREA
(Fig 7.3: Sketch section shows the difference m vertical scale. Source:
Author's sketch)
The garden design is of particular significance as it is

unique and different to many Kindergarten school
grounds today. Rather than being an open grass area
filled with play equipment, the garden rather uses
nature as the play equipment. Trees are meant to be
119
climbed, bushes are
intended to be hiding
places and flowers are
meant to be picked.
(Plate 7.18: The garden has rew

structured play equipment pieces.
Instead, nature is meant to be the
source of stimulation and inspire
new ideas for play. Source:
Author)
In designing spaces for children, the school has wisely employed the help and opinions of
the children using the space. Learners play a part in arranging the spaces within the
building, laying mosaics into the screed flooring, painting walls and floors and
constructing the water features. Examples of these additions made by the pupils are seen
in the photographs following. Children are eager to show the visitors what they have
contributed to the school, illustrating a sense of pride and feature of the school with
which they identify.
(Plate 7.19: Each class is responsible

for contributing something to the
school. Water features, mosaic work
(seen in plate 7.19 - 7.21) and wall
art are common contributions.
Source: Author)
120
(Plate 7.20 & 7.21: A waterfall feature inlaid with pebbles is innovatively
used to conceal the joint between the old and new flooring area. Somce:
Author)
This principle applies from Kindergarten to Matric pupils. Such a principle instils a sense
of pride and ownership of the school in the children, as well as enhances their sense of
personal identity and self-worth.
7.1.5.5 Application of Sensory Elements
The sense of sight has been well engaged through the subtle use of colour and contrast.
The variety of textured
elements further adds to the
visual quality of the space.
Mobiles, windmills and detail
elements added to the spaces
engage the eye as they move
with the breeze.
(Plate 7.22: Textured wall art stimulates

the visual sense. Source: Author)
121
(Plate 7.23 & 7.24: Mobiles, wind-mills and other hanging elements are
visually stimulating as they are constantly in motion. Source: Author)
Wind chimes, bells and the sound of running water stimulate the aural sensory mode.
Music is an important part of the learning process and one fmds musical instruments
throughout the school. The aural sense could have been better integrated into the built
environment by incorporating sound-making elements into the architecture, rather than
adding them on at a later stage.
(Plate 7.25: The sound of running water

adds to the aural experience of the space.
Source: Author)
Children engage their sense of

touch within the entire building
and outdoor play garden. They
are encouraged to remove their
shoes, thus feeling the ground
beneath their feet, and collect
things such as pebbles, leaves and pine cones, discovering them with their hands rather
than just their eyes. Natural stone, rough plaster and walls textured with motifs are
designed to be inviting to the touch, as previously discussed.
122
The sense of smell has primarily been engaged through the use of nature. In the
kindergarten area, a lane of lavender bushes is intended to engage the olfactory sense as
one approaches the school building. Other fragrant plants [plate 7.26 - 7.27] such as
garlic, pine trees and a variety of flower types awaken the sense of smell. The material
choices such as wood, stone and screed, while not selected for their olfactory qualities, do
engage the sense of smell in certain areas.
(Plate 7.26 & 7.27: Lavender (left) and other aromatic plants
engage the sense of smell and provide orientation clues. Source:
Author)
7.1.5.6 Spirit of Place
The Roseway Waldof School has a unique 'spirit of place.' Set in the natural
surroundings of the Alverstone Nature Conservancy, the school environment contrasts
that of the home environment of many children that attend. It provides a space of
calmness, beauty and sensory stimulation, conducive to learning.
123
(Plate 7.28: View of the school set amongst
the natural environment. A sense of
calmness is created. Source: Author)
As one enters the school and

travels through its sunlit
corridors, cobbled pathways and
shady gardens, one is reminded
more of a countryside retreat,
than a school. It is this spirit,
ignited by the use of the senses
and influence of the natural
environment that gives the school
its truly Waldorf character.
(Plate 7.29: Intimate spaces allow one to sit

within the gardens and absorb the unique
spirit of the school. Source: Author)
As seen in the illustrations above, the use of natural materials further integrates the built
environment into the natural environment. This enhances the countryside 'spirit' that the
school possesses. One is able to conclude that the 'spirit of place' is created strongly by
applying the concept of the integration of the natural environment into every aspect of the
built environment, from its form to spatial layout, to details and material choices.
124
7.1.6 CONCLUSION
While the Kindergarten, which is the original fannhouse, was not designed to be a
school, the additions and alterations done have shown a strong understanding of
designing spaces for children. Given an opportunity to design a completely new building
for this age group, there is a certainty that the resultant structure would be perfectly suited
to the needs of the children and provide an environment that is even more beneficial to
them.
One becomes aware that sensory stimulation is an important educational tool utilised by
the school, particularly for the younger ages. This is seen in the added elements such as
water ponds, wind-chimes, mobiles, textural wall detailing and colour. However, this
does not come through as strongly in the actual concept and design of the structure.
There is opportunity to learn from this and, in future, integrate elements that stimulate the
senses into the building design, rather than add these elements at the end of the design
process.
The interior spaces of the buildings for the younger children have been given preference
over the exterior fayades. Some of the old buildings seem run down and in need of
maintenance. These fayades should be considered to be as significant as the interior and
could be altered to give a new dimension to the school and provide a further means of
education and play opportunities.
For the younger ages, the school relies heavily on the natural outdoors for stimulation and
play opportunities. Teachers commented that on rainy days the children lacked the same
enthusiasm to play and learn. The design of the interior spaces should utilise the elements
of the garden that are attractive and beneficial to children. Furthermore, a greater area of
undercover outdoor space is necessary to enable children to venture outdoors even in
unpleasant weather.
125
7.2 SEVEN FOUNTAINS SCHOOL, KOKSTAD
7.2.1 INTRODUCTION
Seven Fountains Primary School is a KwaZulu-Natal Department of Education 'standard'

Primary School that accommodates one thousand learners from Grade R to Grade 7. It
was designed by East Coast Architects and commissioned by Oprah's Angel Network as
part of their community involvement in South Africa. The project was completed in
2007. The team involved was encouraged to design a safe, secure and sustainable school
environment. Strategies were employed towards community empowerment in the design
and construction process, and to aim for a long-term social, economic and
environmentally sustainable end product.
This school is a worthwhile study as it provides up-to-date insight into a recently

established learning facility. The study is important as it contrasts the Roseway Waldorf
School in many ways, thus providing an alternate view on children's learning spaces and
allowing a more holistic study to be undertaken. The major difference is Seven Fountains
has been designed as a 'standard school.' This means that it is composed of rectilinear
forms, sports fields and classrooms connected by corridors with standard materials such
as facebrick and plaster. This type of school, which forms the majority learning
environments for children today, is relevant as it will reflect if, and how, the theoretical
discourse has been applied to its design, as well as enable recommendations to be made
that could positively impact future developments of this kind.
Another difference to be noted between the previous study of Roseway Waldorf and
Seven Fountains School, is the varied urban contexts. Seven Fountains School, set in the
heart of the Shayamoya Township, deals with very diverse social situations and
126
contextual characteristics. The impact of this context on the design of the facility, its use
and impact on the community is relevant and requires further investigation.
The study will also uncover the benefits of ·community involvement in the design,
construction and future use of these facilities, and how this involvement has impacted the
learner's sense of identity and pride.
A study of the spatial layout and planning of the school reveals the indoor I outdoor
relationship that exists, and provides a contrast to the Roseway Waldorf School. The
benefits of multipurpose spaces, the importance of flexibility in buildings that intend to
be sustainable and how these aspects have been incmporated into the school, are apparent
in this case study.
A fundamental principle in the school design is environmental sustainability. In addition,

the importance of educating the community and children about sustainable practices is
important. Thus, the building is used not just as a shelter, but also as a teacher. The
buildings have become part of the actual learning process and encourage children to ask
questions and stimulate discussion related to environmentally sustainable practices.
Being situated in a township area, the school is to provide insight into how the previous
theoretical discussion has been applied in an area of little economic wealth and harsh
living conditions. This is significant as the study shows what can be achieved despite
such conditions, as well as demonstrate that wealth is not necessary to create sustainable,
well-designed and beneficially stimulating environments for children.
7.2.3 LOCATION
The Seven Fountains Primary School is located in the Shayamoya Township just outside
Kokstad. The school buildings are located in the heart of the township and are surrounded
127
by RDP housing, thus enabling children in the township to walk to school. The school is
also easily accessible from
Kokstad along the R56 main road
(Plate 7.30: Aeria1 view of Seven Fountains

School showing location and surrounding
areas. Source: www.googleearth.com)
COMMU TY FIELD
/
..-·-
I '.
: J \
I 'I •
\ ../;
(Fig 7.4: Site plan shows immediate context ofRDP housing. Source: Kinsler, 2006: I0)
128
In 2004, nearly 500 school children were evicted from their farmhouse school outside
Kokstad. They were subsequently housed in derelict municipal workers' accommodation
adjacent to the township landfill site. When East Coast Architects began plans for a new
school in 2005, there were 627 children being taught in seven dilapidated classroom with
no windows, infrastructure, staff facilities or playground (Kinsler, 2006: 10).
Shayamoya is home to an impoverished community with high unemployment rates. The

current desperate situation in the area is worsened by the extreme socio-economic
conditions and harsh climate which makes for difficult living conditions. The majority of
people living in the area reside in RDP houses with an average floor area of 25m2• There
are no commercial or recreational facilities in the township and municipal water supplies
are unreliable (Kinsler, 2006: 10).
7 .2.5.1 Spatial Layout and Planning Principles
The school is built on a gently sloping piece of land. The elevation below shows the
importance of altering the landscape as little as possible in the design process. The school
has been built according to the landscape with different building levels; stairs and ramps
being incorporated as necessary to adhere most directly to the existing form of the
landscape.
·~0 DRIVEWAY "'
(Fig 7.5: Elevation sketch highlighting the site profile and level changes in yellow. Source: Kinsler, 2006: 10)
129
PLAN
EXTERIOR CLASSROOM • ACCESS POINTS TO OUTDOORS

- MULTIPUROPOSE ROOMS CLASSROOM WINGS
GRADE R-1 PLAY AREAS MULTIPURPOSE COURTYARDS
(Fig 7.6: General plan of the school layout. Source: Kinsler, 2006: 10)
The Seven Fountains School is organised around two courtyard playgrounds, each
serving different age groups. The general layout ofthe school is evident in figure 7.6. The
classroom wing, identified in yellow, wraps around these spaces giving a sense of
enclosure, as well as ensuring they are continually supervised throughout the day. All the
classrooms open out on to covered corridor areas which overlook or lead directly on to
the outdoor space, thus enhancing the indoor/outdoor relationship. This indoor/outdoor
relationship is further improved by
the provision of an external
classroom [plate 7.31].
(Plate 7.31: View of the external classroom

space. Shade is provided by an iotengu timber
pergola. Source: Author)
130
Flexibility of space was a driving force in the design layout. The courtyard spaces double
up as playgrounds, theatres, sporting facilities and assembly meeting points. They can
also be used for community events. A number of spaces within the school are referred to
as 'special classrooms.' These spaces, highlighted in red on figure 7.6, are uniquely
shaped and larger than usual
multipurpose venues that are used
for special lessons as well as by
the community.
(Plate 7.32: Illustration shows one such multi-

purpose space. Source: Author)
The classrooms are designed to allow for flexibility. Desks can be arranged in a number
of ways within the space. Some classes have a mezzanine level providing extra space to
give students individual attention, as well as storage and space for the teacher's desk. The
space can thus be used to benefit the individual needs of each class.
ll.l. windows
000
DO
000
(Fig 7.7: Multiple classroom layout options are shown in diagram above. Source: Kinsler, 2006: 9)
131
(Plate 7.33 & Fig 7.8: Mezzanine teaching space is seen in the
photograph on the left and in section below Source: Author,
Kinsler, 2006: 9)
7.2.5.2 The Building as a Teaching Opportunity.
The school has been well designed as a "third teacher.,, ln providing a school facility of
such high quality, in an impoverished area such as Shayamoya, children are given subtle
messages about their worth, the ideals of society, and what is to be valued. The evidence
of this teaching can be seen in the fact that the school is kept spotlessly clean by the
children and there is no litter, graffiti or vandalism. The children take pride in their
environment and are eager to show it off to visitors. Through the built environment they
are exposed to at Seven Fountains, children are taught lessons in respect for their own
and others property as well as pride in themselves and in their school.
The building further acts as a teaching tool regarding aspects of environmental

sustainability. Children are exposed to features of the building that are environmentally
sustainable, thus being given the opportunity to ask questions and learn about methods of
protecting the environment through firsthand experience. Plate 7.34 shows the grey-water
channel snaking through the school, collecting surface runoff. The cover forms a unique
paving feature that children use in their games
132
(Plate 7.34: lllustration highlighting the grey-water channel covering that
provides play opportunities. Source: Author)
Details, seen in the illustrations below, such as Jo-Jo

tanks, solar panels, gutters and rain water downpipes are
expressed in the design becoming part of the aesthetic.
Playground equipment doubles up as pumps to move
water from the underground reservoir. Such elements, in
their prominence, provide opportunities for teachers to actively illustrate the need for
environmental sustainability and how it can be achieved in a very practical way.
(Plate 7.35, 7.36 & 7.37:

Photographs reveal environmentally
sustainable features that form part of
the building aesthetic. Source:
Author)
7.2.5.3 Materials and Tactility
An aspect of sensory architecture, very evident in the Seven Fountains School, is the
importance of tactility. The wide variety of materials chosen and the way they are
contrasted against one another is evidence of this. The classroom wings consist of mainly
unplastered and plastered brickwork. Practicality in this material choice is evident as
exposed brickwork on the lower portion of the wall allows children to run their hands
133
along the surface as they travel, while not making it dirty. Materials such as natural stone,
corrugated cladding, gumpole columns and intengu screens and pergolas add warmth and
variety to the building fa~ades.
(Plate 7.38, 7.39 & 7.40: Photographs above illustrate the variety of materials used throughout the school, enhancing its
tactile qualities. Source: Author)
A multipwpose teaching space, [plate 7.41 ], which forms a feature of the school, uses
local materials such as sundried abode blocks in its wall construction, thatch in its roof
construction and polished dung in its floor construction. Each
of these materials encourages touch due to their warmth and
tactile qualities.
(Fig 7.9 & Plate 7.41: Simple section diagram and photograph shows local materials and methods of construction used.
Source: Author's sketch, Author)
134
7.2.5.4 Applied Principles of Children's Design
In some respects, the school has been designed in accordance with the way children
interact with and perceive their surroundings. Firstly, the important difference in scale
between the child and the adult has been recognised. This is evident in the changing roof
levels throughout the school.
The variety of heights, [plate
7.42], breaks down the scale
of the buildings, making it
appear lower than it actually
is, and thus in keeping with
the scale of children as well as
adults.
(Plate 7.42: Rooflevel changes break down the scale of the building.
Source: Author)
Less considered, is the way children's eyes are much closer to the ground, thus making
the floorscape significant to
them. Few textural variations in
the floor have resulted in a
monotonous landscape at the
""~ child's eye level. The only
exception is the strip of paving
that snakes around the school.
(Plate 7.43: Textural changes in the floorscape are lacking in the design.
Source: Author)
The importance of play has been recognised and the school has been designed to allow
play to occur on the building itself. The ramps on the south side and curved amphitheatre
135
seating are used as part of the play areas. Large boulders, numerous steps and level
changes in the playground can be used for a number of different games and for climbing
on to. The playground could have been improved by incorporating some moveable
elements into the design, or providing loose equipment such as tyres, benches and
wooden seating blocks that could become part of the play experience.
Overall, the sensory qualities of architecture seem to have been given less consideration
in the school design. The visual sense is stimulated through the unique building forms, as
well as subtle colours choices and wall art, as seen below.
(Plate 7.44 & 7.45: Colours and wall art seen above stimulates the sense of sight Source: Author)
The sense of touch is stimulated in the various textures used on the wall surfaces.
However, there seems to be a lack of recognition for the aural and olfactory senses. There
is much opportunity to engage these senses through incorporating more landscaping into
the school, the planting of fragrant plants, varying floor fmishes according to the sounds
they create underfoot, and altering the acoustic properties of spaces to alter the sound
qualities generated within them.
7 .2.5.5 Identity
In the previous discussion regarding identity within space, the sensory and experiential
qualities of architecture were revealed to impact one's sense of identity within spaces.
136
While this remains true, the study of the Seven Fountains School has revealed another
aspect of the built environment that relates to one's sense of identity. In speaking to
children, it is evident that their community's involvement in the project has positively
impacted the way they feel within the school. Here, the children and community were
involved in the design process and have been able to create art work permanently on
display in the school. This fmding is supported by previous work on participatory design
conducted by Wandersman (1979). His findings similarly revealed that user participation
enhances the positive assessment of designs (Baird, and Lutkus (ed), 1982: 14).
An example of such art is seen in the figure below. A number of children said they felt at
home in the school and et\ioyed watching their parents and family get involved in the
building process. Through the work the community undertook and their involvement, a
sense of security and confidence is instilled in the children who attend the school. Their
interaction and contribution to the design of the school has enabled the users of the
school to form a
connection with the
building and this, in
turn, has resulted in a
relationship of respect
having formed
between the building
and its users.
(Plate 7.46: Art work done by children in the school during the construction process is on permanent display. Source:
Author)
7.2.6 CONCLUSION
The study of Seven Fountains School in Kokstad, proves thai even in an environment of
little wealth, there is much opportunity and resources available to create places that are
beneficial for children. It also shows the benefits of providing children with high quality
137
environments in such impoverished places. One such benefit that has far reaching
significance is that sense of identity and pride is instilled into its users as well as the
surrounding community.
The architects have achieved their aims in using this project as a means of empowering
the community. The facilities are used, not just by the children, by also by the community
after school hours. This has resulted in a socially sustainable and economically beneficial
facility, as is it used throughout the day, for numerous purposes, and unites the
community with the children it supports. This is an important factor to consider when
designing spaces for children, particularly in contexts such as this, and should be
considered by all architects in such a position.
In speaking to the architect, however, it has become apparent that this facility has
generated some problems within the community. The school is viewed with some
suspicion as it stands out of its context too much and feelings of jealousy are apparent
between the old Preschool and Seven Fountains. Many parents have removed their
children from the old Preschool and enrolled them into Seven Fountains, resulting in two
teachers losing their jobs (Van Heerden, 2011, pers. comm., 19 May). These factors are
important to bear in mind in the design of future facilities, particularly within poor
communities such as Shayamoya.
This school also provides practical examples of how the building can be transformed into
a "third teacher." Learning through firsthand experience is essential for children's
development and the practical manner in which the school expressed sustainable
elements and gets children to ask questions, is commendable.
There are a number of concluding recommendations that can be made to improve the
school:
Firstly, the incorporation of more landscaping into the design is necessary, as currently
the school seems bare and the play areas uninviting. Landscaping and the planting of
138
trees could transform the play areas
into more usable, aesthetically
pleasing spaces, as well as becoming
part of children's games.
Landscaping could further provide a
natural means of shading a portion
of the outdoor spaces, as there is
insufficient shade for children to use
while outdoors.
(Plate 7.47: Landscaping could transfunn the play area into a more
stimulating environment as well as provide natural shading. Source: Author)
Secondly, a greater awareness of the importance of sensory stimulation in the design of

places for children could result in a more holistic experience had by the children. While
the sense of sight has been sufficiently addressed, elements that stimulate the remaining
senses can be incorporated to do this. Landscaping, as discussed above, would further
assist in doing this.
Thirdly, the built environment specifically designed for the Grade R to Grade 2 children
has been designed in the same way as the classrooms for the older age groups. However,
the needs of such an age group are vastly different from that of the older age group. Had
these spaces been designed with the needs of young children in mind, it is certain it
would have been designed with greater versatility and variety.
However, it is understandable that they may have been designed as they are in order to
provide greater options for flexibility and to enable them to be used for other purposes if
necessary.
139
The fourth advised recommendation to be made refers to plate 7.48. The playground for
this area, seen in this photograph, is lacking in providing the stimulation and
opportunities for play.
(Plate 7.48: The GradeR -

Grade 2 play area is Jacking
in play opportunities,
variety and versatility.
Source: Author)
This area could

.... vastly be improved
with the inclusion of
better landscaping,
elements such as trees, sand and water, as well as loose items that could be used as
versatile toys. As this is an environment that children spend much time in, weather
permitting, it should be treated with as much care and attention as the indoor
environment.
Lastly, since the school is up and running, there is little that can be done to counteract the
feelings of jealousy regarding the school. However, one could suggest that the preschool
within Seven Fountains be expanded to replace the old preschool and that the teachers
there be hired by Seven Fountains. Otherwise, the facility of the old preschool would
need to be renovated and upgraded to improve conditions and encourage more parents to
enrol their children there. For future design projects in areas such as this, this is an
important aspect to consider at the onset of the design process to ensure the same
problems do not arise.
140
7.3 SHAYAMOYA COMMUNITY CENTRE, KOKSTAD
7.3.1 INTRODUCTION
Shayamoya Commwrity Centre is a social facility aimed at serving lhe needs of the
community in Shayamoya Township. It is managed by Sivile!, a local housing
association. The existing community hall and church on the site were deemed unfit to
serve the population and were in a state of disrepair. Thus, a new facility was established
which includes a Health Unit for ARV roll out, Pop-in Centre for the aged, Catering and
Feeding Kitchen, a Pre-school (in the old Church), a new Church, Training Centre and
Administration facilities. In addition to providing such facilities, environmental, social
and economic sustainability were fundamental objectives of the proposal (Van Heerden,
2011, pers. comm., 19 May).
The Shayamoya Community Centre is deemed relevant to this study as it is to illustrate

the multisensory approach to architecture in a different building typology. While the
previous case studies have looked specifically into facilities for children, i.e. learning
environments, this case study looks at facilities for adults, as well as children. In studying
this building, one will be able to see whether the multisensory approach that is applied to
local environments for children is used and if it is the same approach used in
environments for adults.
A community centre is intended to be a place for people to gather, to be unified and is

driven, in its design and function, by people. People with physical bodies, souls and
emotions that desire to exist within positive spaces that address the human senses. This
case study illustrates whether this need has been addressed in such a building. As this
building sits within a relatively poor community with limited funds available, the study of
141
Shayamoya Community Centre is to further illustrate how or whether the senses can be
addressed within a tight budget.
Highlighted in the theoretical discourse, is the relationship between the community and
child. As this case study houses both facilities for the community as well as a preschool
and kindergarten, one will be able to better understand the social and physical
relationship between the two, how they have been integrated in the design and the
benefits of connecting these functions.
This case study further highlights the various functions housed within a community
centre and how this building has been able to address various needs within the
community. The discourse is intended to inform the future design of a Children's Centre
and Community Facility; therefore, investigating the functions and relationships between
spaces that make up a successful community centre will be valuable in the design
component of this dissertation.
The unique design principles of this building, such as internal streets, circular forms and
courtyards illustrate functional, aesthetically pleasing features that work well in this
building typology. These principles are worth investigating as they may prove to be
helpful in the design of a Children's Centre and Community Facility.
In light of the problems encountered subsequent to the design of the Seven Fountains
School, such as jealousy, suspicion and that the building stands out of its context too
much, this case study illustrates how these problems have been internalised and become
part of the brief to ensure the same problems do not result from this project. On this note,
it is important to recognise that this facility was provided in place of the old, thereby
creating a new environment for all, rather than generating competition with the old
community centre, church and creche.
142
7.3.3 LOCATION
The Community Centre is situated in

Shayamoya Township, North of
Kokstad. The site is adjacent to the
Town Landfill (which is to be
rehabilitated into sports fields), and
the Shayamoya High School. Located
within easy walking distance to the
Seven Fountains School, the two
facilities are used in conjunction with
one another.
(Fig 7.10: Aerial view of Shaymnoyn Communiry Centre

showing location 11nd rurr-l unding area,o;, Source: www.googleearth.com)
Existing buildings that

occupy the site include an
old church which was also
used as a preschool, and a
community hall. This
building remains untouched
on the Western portion of
the site and is still used
occasionally.
(Fig 7.11 : Aerial view ofShayamoya Community Centre showing the overall
layout of the site and existing buildings. Source: East Coast Architects, 201 I)
143
The design process for the Shayamoya Community Centre began when Respond!
Housing Association from Ireland came to South Africa with the intention of starting up
housing developments to promote the foreign development of the Association. Through
a connection with the Catholic Bishop in Kokstad, the Association identified this area to
focus on. This town was deemed to be an ideal area to look into as housing shortages had
already been identified as a major concern. However, difficulties arising from dealing
with constantly changing municipalities and the logistics of setting up such vast housing
intentions resulted in the project taking far longer than anticipated to get started. Thus,
the team looked at beginning with "sweetener" projects to address social concerns while
the legal and municipal aspects of the housing development were underway.
The Shayamoya Community Centre was one such project that began construction in
2008. Part of this project was to incorporate a training facility to teach builders the
necessary skills for when the building of houses began. Unfortunately, the housing
project has subsequently fallen through (Van Heerden, 2011, pers. comm., 19 May).
As previously mentioned, Shayamoya township is home to a poor community where

unemployment, a harsh climate and lack of services are major issues. Often, water is cut
off for days at a time necessitating all new projects having to generate their own water
supply. Unreliable electricity and limited municipal sewer lines create difficult living
conditions and also emphasise the need for clever design ideas, particularly in terms of
water saving and passive, low energy design as electricity for heating is too expensive
and unreliable in winter.
144
7.3.5.1 Building Functions, Spatial Layout and Planning Principles
The Shayamoya Community Centre provides six primary functions as well as the
administration component necessary to run them. The building functions are highlighted
in the plan following and briefly described:
..... -- .. - ..
-- -· .. --
.-.
oiUIILDN!i .
.........
.. IW.ei!IC ' I
I
I
I
'
I
' I
I '
I I
I I
.'
I
' I
•
I I
I I
....... -- · .Jo
' ·~ L r. ·
- --
(Fig 7.12: Floor plan of the Community Centre highlighting the various functions and entrance points. Source: East
Coast Architects, 20 ! I)
• The existing church in the centre of the site which was also used as a creche has
been converted into a preschool. The rectangular building was split into two
145
playrooms with the administrative functions positioned along the west wall. A
new kindergarten and large playground are situated just north of the preschool.
• A bigger church situated on the south-east corner replaces the old church. The
church has a courtyard in front for gatherings and a small office and toilet at the
rear. The church building is also used for social functions and can be hired for
weddings and community meetings.
• North east of the church is the substantially sized kitchen and service area. This
kitchen serves all the tenants within the Centre and is used in conjunction with the
church building for functions. This kitchen is also used for training purposes to
teach nutrition and dietetics to the community as well as serving as the collection
and packaging point for the surplus food donated from surrounding stores to be
distributed to the community.
• A Pop-in Centre for the aged is provided where they can gather to socialize and
receive meals to improve their nutrition.
• A Clinic and Administration facility is situated on the north eastern portion of the
site. The health unit conducts voluntary counselling and testing, ARV roll outs
and some general health testing.
• A Training Centre forms the final component of the project and is situated on the
west of the site. The training centre comprises an administration area, classrooms
and workshops for teaching bricklaying, electrical work, woodwork, carpentry,
and welding.
Regarding the general planning, the design was intended to be loose fitting, modular and
fairly repetitive. This was deliberately done to enable the different buildings to be
occupied by various tenants. It also ensures flexibility and enables spaces to be easily
extended as needed. This is particularly apparent in the workshop area. The overall frame
has been provided, but as the need arises, the brick infill is added to create enclosed
spaces.
146
These individual buildings that make up the Centre are connected to each other by
"internal streets" and courtyards. The courtyard design of the Shayamoya Community
Centre allows for social interaction and
gatherings to take place by providing
shared areas to be used by all. As this is
a centre which focuses on uniting the
community through the building and
creating and improving relationships,
this design principle that assists in doing
that, is beneficial.
(Fig 7.13: 3D model of the workshop building showing its

modular design. Source: East Coast Architects, 20 II)
.. -.. ~
j
(Fig 7.14: Floor plan of the
Community Centre highlighting
......... ........
......... courtyards and "internal streets."
Source: East Coast Architects,
20 11)
Separating the functions

into separate structures
allows all building to
receive north light and
can be cross ventilated as
the floor plates remain
•.• !' ' _A~· narrow.
In addition to this, in terms of planning the individual buildings, livable spaces are
generally kept on the north side of the building to ensure they receive mmmum daylight
and are most habitable. Figure 7.15 shows habitable spaces such as offices, reception and
waiting areas in green, while non habitable spaces such as toilets, stores and kitchens are
147
shown in orange. It is apparent that all habitable spaces receive north light while non
habitable spaces are situated on the south side of the buildings.
(Fig 7.15: Floor plan of the

clinic and administration
buildings showing habitable
spaces on the North. Source:
East Coast Architects, 2011)
,/'.,.
N
7.3.5.2 Multisensory Architecture
As this case study forms part of a discussion centred on multisensory architecture, it is

necessary to determine whether this project could be deemed to be sensory stimulating. In
analysing this building, it is unfortunate to conclude, that there is very little within the
Community Centre that engages with the senses. It is apparent that the bodily experience
of architecture was not deemed to be of great importance in the building design. Rather,
providing the functions within the centre and ensuring its sustainability was given
preference.
In particular, the built form gives no recognition to the human experience. Almost all the
spaces created are rectilinear and of standard proportions. There are limited elements of
interest that would spark the imagination. The curved wall of the external ablutions [plate
7.49] and circular kindergarten [plate 7.50] are the only aspects of the built form that
begin to stimulate the senses as they are unique and unusual within the project.
148
(Plate 7.49:
Photograph showing
the curved ablution
block. Source: East
Coast Architects,
1011'
(Plate 7.50:
Photograph showing
the circular play
room. Source: East
Coast Architects,
2011)
While it is evident that the sensory approach to architecture was not fundamental during
the design process, there are a few elements worth mentioning that do address the senses
in some way. Firstly, the use of colour to highlight features of the design engages the
eyes. Bursts of primary colours are seen on elements of the building as shown in figure
7.16. The church and bell tower (which has acoustic properties) are painted an earthy
orange signifying importance and giving it prominence within the centre.
(Fig 7.16: 3D model

demonstrates the
primary colours used to
highlight certain aspects
of the buildings. Source:
East Coast Architects,
2011)
149
Using internal streets and a courtyard design principle encourages building users to
constantly move between inside and outside spaces. This engages with the kinaesthetic
sense by directing movement through the building. In this way, the body is also
stimulated through temperature changes, varying lighting levels and the feel of a breeze
or sunlight on the skin. One such internal street found on the east of the site is better
designed in terms of sensory experience [figure 7.17].
Here, the ceiling height varies as one moves along the gently sloping ramp. Angled,
coloured screens create a
feeling of constriction and
release while providing
shading. Planting along the
way and bursts of sunlight
through the clerestory lighting
add to the experience.
(Fig 7.17: 3D model shows the sensory stimulating"intemal street'' situated

on the east part of the site. Source: East Coast Architects, 2011)
7.3.5.3 Designing for Children
Through studying the operation of this building, incorporating children's facilities within
community centres has proven to be positive, both for the young and the old. The
children benefit by being close to their families and the community that uses the facility
throughout the day. Therefore, they are able to build better relationships with them. As
mentioned in an interview conducted with a local teacher, being able to regularly engage
with the parents and family of a child ensures that the child views them as a united front,
with the child's best interests at heart. This environment, where community facilities are
150
combined with teaching facilities, enables this relationship to grow and thereby plays a
role in promoting children's development.
By placing the preschool and kindergarten in the centre of the site, the entire building is
given life and spirit. The Pop-in centre for the aged is adjacent to the preschool and
visitors are able to watch the children playing as they socialise. Simultaneously, this
provides maximum opportunity for surveillance and supervision of the playground.
(Fig 7.18: Floor plan of the preschool and

kindergarten shows how surveillance is achieved
'-
·..
PLAYGROUND
- ''
• and the relationship between the spaces. Source:
The circular kindergarten is one of

the few local building examples for
children that address the scale of a
child through its window design. In
this playroom, a double row of
windows line the north face, one at
the correct height for children, and
the other for adults. The preschool
classrooms however, have windows
too high above ground level for
children to see out of.
Colour has also been introduced into these areas by painting the doors and internal walls
primary colours. The kitchen counters in these areas match the bright walls and create a
sense of continuity around the room. Giving each room specific colour themes enables
children to easily identify themselves with the room they are assigned to and creates a
151
sense of belonging. The three metre veranda on the north side of the classrooms allows
for outdoor lessons and a shaded area for play or during inclement weather.
(Plate 7.51: Interior view

of the preschool classroom
showing colour themes.
Source: East Coast
Architects, 2011)
In the playground
area, the sandpit is a
positive tactile
addition that teachers consulted and specialists working with children have recommended
during interviews conducted. However, this is currently the only play equipment in the
playground. From the levelled ground and removal of all planting in this area, it seems
that it is to become a standard playground with equipment purely accommodating gross
motor activities.
7.3.5.4 Aspects ofEnvironmental Sustainability
Environmental sustainability was a fundamental component of the design process. There

were three major concerns needing to be addressed: rainwater harvesting, recycling and
creating a passive, low energy design. These were deemed most important as municipal
water is unreliable, and heating expensive.
In terms of water saving, all rainwater is collected and stored for reuse. A one hundred
and fifty thousand litre tank fann stores water collected off all roofs. This water is used
for the flushing of toilets, cleansing, washing and gardening. An eighty thousand litre
tank fann stores water collected off all paved surfaces and is used only for watering the
152
vegetable garden, situated on the lowest
part of the site. The vegetable garden,
which is still being completed, is to grow
produce to be used in the feeding
kitchen.
(Plate 7.52: Photograph highlighting the many Jo-Jo

tanks used for rain water storage and recycled tyres
used for retaining walls. Source: East Coast Architects,
ZOi l)
A passive, low energy design was created by understanding the importance of correct
orientation. As previously mentioned, all habitable spaces receive north light creating
optimal living conditions. Solar control and large overhangs on the north fayade ensures
they do not receive too much heat gain in summer. All walls have cavities with insulation
between to retain heat in the winter when temperatures drop, and it ensures temperatures
remain at a comfortable level during
summer.
(Fig 7.19: 3D model illustrates solar shading devices

used to achieve a passive, low energy design. Source:
In addition to these, clerestory lighting in areas reduces the need for electric lights during
the day, recycled tyres are used as retaining walls, local labour and materials were
sourced for the project and natural, recyclable materials were chosen over non recyclable.
153
7.3.6 CONCLUSION
The Shayamoya Community Centre functions efficiently and provides for many of the
needs within the community. The architecture has remained low key to ensure that it does
not stand out in its context too much. This 'standard' architectural design is beneficial in
this context as it can easily be extended and grown to accommodate future needs. It also
minimises feelings of jealousy and suspicion that became evident in early projects.
The way in which the community facilities and preschool have been integrated has
proven to be positive and a good precedent for future designs of this nature. Positioning
the children's facilities central in the design promotes a lively atmosphere throughout the
centre and improves surveillance and security for the children. Creating a safe
environment is not only necessary to ensure children are secure, but also to promote a
psychological feeling of security which gives them more confidence to explore and learn.
The Community Centre works well in term of environmental sustainability. The main
issues have been addressed and catered for to enable the centre to operate efficiently
without disruption. The methods used to achieve this environmental sustainability are
also able to be used as methods to teach the community about the importance of
preserving the earth's resources. The methods harnessed are made visible and have
become part of the architecture of the Community Centre. This enables the community to
practically see ways in which water use and electricity needs can be minimised.
(Plate 7.53: View of the numerous

Jo-Jo tanks used as an
architectural feature. Here, they
give the building height and are a
beacon in the community. Source:
154
While the building has not been designed wilh a sensory approach in mind, there are
elements of the design that are interesting, aesthetically pleasing and can be applied to
other projects of the same nature. These features include: contrasting circular spaces with
rectilinear ones, making use of courtyards and internal streets, incorporating planting and
using colour to highlight features of the building.
There are numerous positive aspects of this project, but there is also room for much
improvement. A number of recommendations can be made:
Firstly, the preschool and kindergarten design displays a small understanding of the way
children develop and learn. This can be seen in the circular playroom, colours used, low
windows and provision of a sandpit. However, the various areas within the children's
facility are not treated equally. The new playroom has been designed to be much nicer
and more interesting than the others which can lead to feelings of jealousy between
children. Within the built spaces, improvements could be made by incorporating different
level changes, ceiling heights, and creating a variety of unique smaller spaces within the
large spaces. Creating opportunities for play and exploration through the built structure
would further promote children's enjoyment of the space. In the playground, it is
suggested that large play equipment be combined with elements that stimulate fine motor
development. This would ensure a more holistic environment is created for children to
learn within. Allowing for level changes, slopes, planting, water play and textures in the
natural environment would enable children to develop their own games and creates an
opportunity for a wider variety of activities to occur.
While it is not possible to redesign the entire Centre in an attempt to enhance the sensory
aspects of the building, by incorporating various elements, the bodily experience could be
improved. While it is not ideal to try and add sensory elements after completion of the
project, incorporating material textures to the walls, acoustic water features, paving
variations and fragrant plants could positively benefit the building user. These elements
that impact the human body are also helpful in creating a sense of place, instilling
positive memories and enabling users to better identify with the Centre.
155
CHAPTERS
ANALYSIS AND DISCUSSION
156
INTRODUCTION
The aim of this chapter is to communicate the development of the theoretical discourse in the
context of the empirical data obtained through the interviews conducted and study of various
local buildings: the Roseway Waldorf School in Assagay, the Seven Fountains School in
Kokstad, and the Shayamoya Community Centre also in Kokstad. It is to reflect the synthesis of
the theories discussed within the local context of the case studies and other empirical data
collected.
It is apparent from the fieldwork fmdings that there is little evident integration of sensory
architecture into children's environments in KwaZulu-Natal. While these case studies are only
three out of possibly hundreds of examples, they were chosen as they were considered to be
relevant to the fmdings of the theoretical discussion, and therefore be most applicable to this
dissertation. In comparison, they provide insight into recently built and older learning
environments in two contrasting contexts, thus resulting in fmdings that are less biased and cover
a wider scope. There are elements of the theoretical discourse which are seen to have been well
applied to the design of these buildings while other aspects appear to have been ignored or
inadequately applied. These finding are analysed and discussed below.
8.1 MEMORY, IDENTITY AND SPIRIT OF PLACE
The empirical fmdings reflect that memory, identity and spirit of place are not deemed to be
important outcomes of sensory stimulation in architecture, and thus have not been achieved
through the experience of the body within the built environments examined. This is evident from
the analysis of these local building examples as well as the interview responses [Appendice 1].
Despite the extensive literature highlighting the role of sensory stimulation in improving the
experience of buildings through memory preservation, identity enhancement and creation of a
spirit of place, not a single interviewee commented on this. One may conclude that in current
local practice, the connection between sensory stimulation and its psychological benefits is not
157
acknowledged nor understood. However, the study of local building examples has revealed that
these psychological implications of architecture can be achieved in ways other than through
bodily experience. The fmdings from the study of Roseway Waldof School and the Seven
Fountains School demonstrate that being able to leave something of oneself in a space and have a
physical and tangible impact on a space gives a place a unique spirit and enables one to identify
with that space and retain firmer memories of it. The level of pride displayed by learners, as well
as the community involved, reflects the positive influence the built environment has on its users.
For future developments, by enabling users to have an impact on spaces that are sensory
stimulating and experiential, one is certain that they may gain a full appreciation of such an
environment, that they may gain a sense of identity and retain fond memories of that space. All
of which contributes towards a meaningful and positive architectural experience.
8.2 CHILDREN'S INTERACTIONS WITH THE ENVIRONMENT
It is alarming to notice that few of the findings from current literature on children's place
experience come through in conversation with teachers and those regularly dealing with children
[Appendice II]. Their understanding of the issues raised regarding children's interactions with
the environment are often limited and tend to be focussed on the physical interaction, while
neglecting the psychological impacts of the environment. There is an urgent need for those
dealing with children to be kept up to date with current information, and given the opportunity to
apply this information as they practice.
A partial understanding of the way in which children interact and engage with their surroundings
is reflected in the case studies examined. The scale of the child has influenced the design of some
spaces, as well as the importance of play. However, in comparison to many international
examples, such as the Children's School in the United States, it is evident that there is much
room for improvement. Windows at children's level, utilizing the floor surface as a means of
play, and creating spaces which encourage physical interaction and activity are design features
that would enhance current environments for children.
158
The psychological impacts of children's environments have been even less considered. The
importance of private exploration and place-making are insufficiently designed for, even though
imaginative play and exploration were shown in interviews to be a fundamental learning
component. While the Roseway Waldorf School allows for this on a small scale, standard
schools, of which The Seven Fountains School is a recent example, do not cater for this aspect of
children' s experiences at all. There are very few intimate spaces for private play to occur, and
children are not given the means by which they can alter the environment according to their
wants and needs. However, one must bear in mind that site constraints, safety for large numbers
of children and limited available materials, may impact the ability of designers to provide for
these needs. These hindrances are widely found in less affluent communities where the
supervision of many children is shared among very few teachers. Thus, in these situations, the
role of the architect becomes even more critical in creating safe and beneficial spaces that can be
supervised and easily managed. Shayamoya Community Centre has created this supervision well
by positioning the playground in the middle of buildings. However, the playground is bare, flat
and unimaginative, and insufficiently designed for children to enjoy.
8.3 THE APPLICATION OF MULTISENSORY ARCHITECTURE IN THE DESIGN OF

CHILDREN'S LEARNING SPACES
The importance of sensory architecture in the development of children is just beginning to be

seen in the case studies examined. However, this aspect of architecture is seen more as an
interior design concern rather than a major contributor to the buildings' conception and design.
In the projects analysed, it is evident that the spaces created to enclose learners are intended to
purely act as a 'shell' in which activities can occur. No regard or thought was given to enable the
built form to be a generator of activity and stimulation. Rather, it was intended that elements
within the environment created (such as colour, toys, furniture etc.) would provide stimulation
and sensory input. There is a need for future projects to look not just into the interior design and
superficial embellishments to stimulate the senses, but rather to start at the buildings' conception
and design as a means of creating sensory stimulation. One aspect of sensory architecture that is
159
evident in the buildings examined is tactility. A variety of materials and textures have been used
in the Roseway Waldorf School and Seven Fountains School, to encourage exploration of the
sense of touch. The same cannot be said of the other senses however. They are given far less, or
even no significance to the architectural experience. This is particularly unfortunate as a number
of interviewees commented on the importance of a sensory stimulating environment as it aids in
the development of body awareness and proprioception (awareness of the body's position),
various gross and fine motor skills, and perceptual development.
8.4 THE APPLICATION OF NEW APPROACHES TO THE DESIGN OF CHILDREN'S

SPACES
The Reggio Emilia approach shows an education philosophy for children that views the
environment as a vital component in children's lives and development. This model, if applied to
the design principles of future schools, could benefit the places children are provided with, and
ensure they have maximum opportunity to develop, enjoy and create attachments to the places
they exist within. Unfortunately, spaces are usually designed according to what adults and
designers believe to be appropriate environments for children. This is evident in the various case
studies analysed.
The inclusion of the Roseway Waldorf School, designed according to the Waldorf education
philosophy, may be viewed as contrary to this theoretical framework established. However, it has
been integrated into this discussion as Waldorf education show similar characteristics with the
Reggio approach in that the environment is deemed important to the lives of children. In looking
at both approaches to education, one is able to see that it is necessary for children's learning
environments to be designed according to principles that aim to benefit the experience of the
child, whether it is Reggio Emilia, Waldorf, or other.
Similarly, the Seven Fountains School and Preschool and Kindergarten of the Shayamoya
Community Centre have also not been designed according to such a philosophy. However, one
160
can see the importance of community and family involvement being valued and introduced into
the design process; a principle significant to Reggio Emilia education. This study of these
environments reveals the benefits of including community facilities with those for children. The
two are proven to work well in conjunction with one another and promote good social conditions
and community involvement. This is coherent with the interviews conducted in that all teachers
questioned emphasised the value of parental input into the education of their children
[Appendice II]. When a child is able to see unity and interaction between teachers and parents,
the resultant education is more holistic and positively presented.
Applying the three approaches discussed in the review of literature to the design of spaces for
children, architects in KwaZulu-Natal could greatly improve existing environments for children,
as well as create unique and diverse future buildings that respond to, and cater for, the physical,
sensory, intellectual and emotional needs of children. While flexibility of spaces has been
achieved in some instances, there is little variety in the architectural treatment of spaces
themselves or in the furniture and interior design of them. This needs improvement if designers
are to cater for the dynamic needs and sensory stimulation required of children.
The importance of nature to children's place experiences is apparent in the interviews conducted
[Appendice II] and the analysis of Roseway Waldorf School. Here, teachers assign great
importance to play time outdoors in natural environments, and the gardens are thus designed
appropriately. However, this understanding of the appeal of the natural environment has not been
translated and applied to the design of the built environments as it has been in international
building examples. The Seven Fountains School shows little acknowledgement of the importance
of play in the natural environment as all surfaces have hard landscaping and minimal vegetation.
Thankfully, this aspect of children's design can be rectified with little cost, little damage to the
running of the school and, if done correctly, can require little maintenance.
The case studies analysed however, demonstrate evidence of one of the approaches discussed:
the use of the building as a teaching opportunity. This has been particularly successfully
achieved with regards to environmental sustainability. Through design, the environmentally
161
sustainable elements have been highlighted to stimulate questions and create learning
opportunities. However, drawn from only three examples, this conclusion cannot be deemed as
conclusive for the majority of schools in KwaZulu-Natal. It does show that there is much
potential for this to be achieved in new and existing environments for children.
Overall it is evident that architects in KwaZulu-Natal are beginning to take small steps towards
creating environments appropriate and beneficial for children, which highlight the importance of
stimulating the senses through the built environment. However, in comparison to international
examples, there is much improvement required. The primary cause for this is due to the fact that
architects neglect the importance of sensory stimulation and other aspects of children's
architectural experience necessary for successful spaces at a conceptual stage. Thus, these
elements are often added on at a later stage, if at all, and largely fall short in their sufficiency.
The most appropriate means by which such environments can be created, is for architects to
recognise the importance of multisensory architecture in children's development at the initial
stages of the design process and to respond accordingly. Furthermore, teachers and specialists
involved in children's development need to be kept up to date with current literature and findings
regarding children's place experiences. Their knowledge needs to incorporate the value of
sensory stimulating environments and how this can be better achieved within learning
environments. Such individuals need to be consulted as part of the design process as they would
be able to communicate valuable information to architects that would assist in creating more
appropriate environments for children.
162
CHAPTER9
CONCLUSIONS (AND RECOMMENDATIONS)
163
INTRODUCTION
The purpose of this chapter is to summarize the fmdings of the research effort, outline the
conclusions reached in terms of the intended aims of this dissertation and present problems
encountered with viable recommendations. These findings are anticipated to highlight avenues of
further research necessary in this field of study.
9.1 SUMMARY OF FINDINGS
This study has proven that sensory stimulation in architecture is a fundamental design tool, often
not given enough recognition by architects in the context of contemporary South African
architecture. The human senses have been found to be vital in one's perception and experience of
the built environment. It is through the senses that one is connected to the world and enables one
to experience the world as meaningful. The benefits of architecture for the senses can be seen in
the physical pleasure it brings. Engaging the sense of touch, sight, hearing, taste and smell in the
experience of architecture enables the body to physically interact with its surroundings, thereby
creating a holistic and memorable experience. Material selection and tactility have been found
fundamental to this study. It is through the recognition of the sensory mode of touch that
messages can be portrayed to the user, as to what is to be touched, and the way and pace at which
space is to be experienced.
However, multisensory architecture does more than this as it has far reaching psychological
effects on its users. While touch may seem to be the most obviously impactful aspect of the built
environment, one must not deem the sense of sound, smell and taste as being of less importance.
It is through the full sensory experience of architecture that memories and meaningful spaces are
established within the human being. Memories are generated not by buildings in themselves, but
by the effect they have had on the human body. Often this effect originates from the stimulation
of the sense of smell and sound. Similarly, architecture that focuses on the experience of the
physical body, directs one's consciousness towards their sense of self and being. The human
164
experience, through the physical body, connects people to the places they occupy, thereby aiding
in the enhancement of a sense of personal identity within the space and connection to such a
space in the form of memories.
The study of sensory stimulation has proven to provide a sound theoretical base from which to
look into architecture for children, as it is primarily through the physical experience of space,
through heightened sensory modes that children engage with, interact with and learn from space.
While adults are less sensitive to the stimulation of their senses, children are acutely aware of the
world around them, its sights, sounds, smells and textures, thereby making the impacts and
benefits of multisensory architecture even more applicable to children. The physical manner in
which children engage with the built environment is seen in the importance of play, the need to
explore and discover new places in the environment as well as establish their own private space
through place-making. Literature on the subject shows that children gain much from their
experience of places and so it is evident that designers and architects need to consider children's
spatial experiences in order to appropriately design for this.
This dissertation has highlighted three possible approaches within the Reggio Emilia education
philosophy to illustrate different means by which spaces for children can be designed to be more
in keeping with children's spatial experience. While there are a multitude of possible approaches
one could look into, these three form the focus as they reflect, most directly, the role of sensory
stimulation in architecture for children.
Firstly, providing a variety of spaces improves the quality of the child' s experience, by ensuring
an abundance of stimulus is present. Flexibility of spaces improves its sustainability in enabling
a variety of activities and types of play to occur within, which has been found vital to children's
development. The psychological benefit of varied spaces is also evident in that they allow
children to experience a range of moods, emotions, and times of quiet, reflective activity. The
provision of variety further enables children to rearrange the environment according to their
needs.
The second approach looks to nature for inspiration in the design of children's spaces. The
sensory outdoor environment naturally draws children to it. The unique qualities of this world,
165
not often evident in the built environment, engage with a child's sense of wonder, adventure and
fun. A number of ways to integrate this type of environment into the designs of children's spaces
are discussed. Firstly, indoor spaces, designed as 'interior landscapes', create an indoor
environment that is multidimensional and interactive. Secondly, enabling the manipulation of
spaces and objects within the built environment, often done in the natural environments, is
important. This allows children to determine their own environment and enables place-making
and the construction of private spaces, significant in their psychological development, to occur.
The third approach aims at using architecture as a means of teaching. The spaces children occupy
have been found to be a considerable part of their learning process. Thus, the environments
created for children need to be carefully considered to ensure they optimally enhance the
l~arning process that occurs within. These environments can become an active part of a child's
education when designed to ignite interest and raise questions regarding the world around them.
Furthermore, these environments can also perpetuate messages about a child's worth in society;
what is to be valued and respected. With this approach in mind, the building becomes more than
just an educational tool, but also a teacher on life experience.
9.2 CONCLUSIONS
The theoretical information gained supports the initial hypothesis posed. Firstly, approaching
architecture with a focus on sensory stimulation is a concept not well applied in contemporary
architecture. Provided that the stimulation of the senses through the built environment is
considered as a design tool at conceptual stage, it can promote physical and psychological
wellbeing to its users.
On a physical level, sensory architecture engages all aspects of the human body thereby
generating a more holistic physical experience in comparison to a vision-centred one.
Furthermore, multisensory architecture is able to generate a choreography of movement through
spaces created and can convey to the user how a building is intended to be experienced and
understood.
166
On a psychological level, architecture that appeals to all sensory modes ajds in the formation and
retention of memories of spaces through the physical experience of the body. It connects one's
body to the environment one exists within, thereby enhancing personal identity and sense of self
within a space. 'Ibrough the use of the senses, a places' unique 'spirit' is brought out which can
have an emotionally impact on the user.
Secondly, children expenence the environments they exist within through a heightened
awareness of their sensory modes. Thus, they experience spaces far more acutely than adults. It
is through physical interaction with the environment and objects in the environment that children
learn, develop and enjoy spaces. From this understanding of children's place experience, it is
logical to conclude that the built environment plays a major role in children experience of space,
their development within it and enjoyment of it. The built environment forms the framework in
which play, socialising, exploration and learning happens. Viewed in this way, it is evident that
the architect's role in the design of these spaces is paramount to ensure that the environments
created promote positive development in these areas.
The environments children are exposed to also have psychological implications as they promote
or hinder private exploration and place-making. These two aspects of children's place experience
are two of many ways in which children are able to develop their personal identity and sense of
self. A further means by which children's identity is able to be developed through the built
environment, is by enabling them to have a tangible impact on their environments and provide
opportunities for them to reorganize their environment according to their needs.
Finally, using sensory stimulation as an architectural design tool in the creation of spaces for
children can greatly benefit children as multisensory architecture promotes physical engagement
with spaces and encourages discovery, play and creativity, all of which create ideal conditions
for learning to occur. Environments in which the senses are engaged encourage children to
explore and create personal spaces, which assist in the development of their individual identity
and create attachments to places.
167
Three ways in which this can practically be achieved is through the provision of variety within
architectural space, using the natural environment as inspiration in the design of the built
environment as well as creating the architectural facility to be an opportunity for teaching. These
three methods, while not the only means of creating appropriate spaces for children, can be
applied to current environments for children and to future design projects to help transform
spaces into unique places that are beneficial and have a positive influence on the lives of
children.
9.3 PROBLEMS ENCOUNTERED
The application of these conclusions is beginning to be seen in various international buildings;

however, the study of local buildings shows less of an understanding of the significance of
sensory stimulation in the design of children's spaces. The main problem encountered is that in
the South African learning environments studied, sensory stimulation is in the form of 'add-on'
elements and does not form part of the conceptual and theoretical development of the project.
However, successful, multisensory architecture is far more than purely adding texture and colour
to a building, as is primarily done in these examples. The most significant and influential
architecture in terms of addressing the entire human being, are those that are conceptually aimed
at enhancing the human experience through sensory stimulation.
The link between sensory stimulation and children's development is also not as well recognized
in South Africa as one would hope. This is evident in the application of sensory elements to local
built environments for children. As mentioned above, it is applied more as aesthetic elements or
interesting features, rather than in response to an understanding of the need for children to be
constantly inspired by their environment, and the benefits of architecture that responds to the
needs of children. This problem is further evident in discussion with teachers and children's
specialists. The connection between sensory stimulation and physical development in apparent to
168
a degree, but the psychological and personal benefits of stimulating the senses through the built
environrnentislessreco~ed.
9.4 AVENUES FOR FURTHER RESEARCH
As this is a relatively new concept in architecture today, there is a great need for further research
on the subject. The study has shown that although a fair understanding of human perception and
cognition in architecture exists in the realm of literature, practitioners have yet to fully harness
such knowledge in the design of architecture.
While architecture during the eras before the onset of Modernism could be viewed as
multisensory, it would be unrealistic to conclude that architecture today needs to resort back to
the design methods and intentions of those times. Rather, further research should aim at looking
at the concepts and principles of those times, to reveal new ways of applying them to architecture
of today. Thus, a new era is to be established that synthesizes the contemporary architecture style
of today with the findings on sensory stimulation in the built environment. It is also
recommended that architectural practitioners bear in mind the importance of multisensory
architecture in future buildings' conception and design development rather than merely towards
the end of a project. This would assist practitioners in creating more holistic environments that
leave the user with a positive, memorable experience and desire to return.
Although research on children's development is abundant, there is a limit to the knowledge that
directly evaluates the relationship between children's development and the built environment.
Teachers and children's specialists also seem to be behind in current literature related to the
topic. This needs to be addressed if their insight into the design of children's environments is to
be deemed valuable to architects. Since children have little say in matters of design, their needs
must be met by practitioners, sensitive to their requirements and determined to satisfy them.
169
This dissertation has fulfilled its aim in providing synthesizing information related to children
and architecture, through the study of sensory stimulation; however, there is still need for further
research in this specific field. In particular, the importance of sensory stimulation and how it can
be incorporated into the design of children's spaces in an appropriate manner is a sphere of
research found lacking.
170
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174
APPENDICES
174
APPENDICEI
INTERVIEW SCHEDULE A: Answered Example 1
What is your understanding of Architecture that relates to and can stimulate more than one of the human
multisensory architecture? senses.
What do you believe to be the most Vision

important sense I sense in
architectural perception?
Do you consider the sensory To an extent I do consider it. It would be more heavily weighted towards
experience in the design process? vision, however, aural and touch would be considered at a slightly lesser
priority. Smell and taste are much less considered, if at all.
Do you believe contemporary There probably is a lack of overall sensory input in most contemporary
buildings today lack sensory buildings. By incorporating this into the design process, one can surely only
stimulation? Is there a need for improve on the environment of a space.
change?
What do you believe are the I would think that being surrounded by architecture that is constantly
primary physical and psychological stimulating many senses simultaneously would naturally heighten one's
benefits of multisensory senses, having a knock on effect where by the mind and body would be more
architecture? regularly stimulated. This would improve brain activity, and increase the
overall health of the body and mind.
175
INTERVIEW SCHEDULE A: Answered Example 2
What is your understanding of Architecture that respond to several senses.

multisensory architecture?
What do you believe to be the most The visual sense and psychological impression.
important sense I sense in
architectural perception?
Do you consider the sensory Yes. More so in habitable areas and public spaces. Not as much in
experience in the design process? commercial or industrial projects.
Do you believe contemporary Yes. There is a need for architects to have a greater sensory awareness.
buildings today lack sensory
stimulation? Is there a need for
change?
What do you believe are the Architecture is principally about the creation of suitable, enjoyable spaces for
primary physical and psychological a determined function. The more senses we can stimulate or consider in the
benefits of multisensory design process, the better we can control the physical and psychological effect
architecture? we hope our architecture will have.
176
APPENDICED
INTERVIEW SCHEDULE B: Answered Example 1
Do you suppose there is a Yes. A homely, comfortable and positive environment makes children feel more
correlation between children's secure and able to explore. This is opposed to a stark, four walled, bare
development and their environment.
environments?
What role does the The environment promotes the formation of relationships between peers (i.e. social
environment play in implications). It defines an area for children to gather, promotes interaction. This
children's lives? (physically, can be either indoors or outside. Enables the development of motor skills. The most
socially and psychologically) positive and diverse an environment, the more well rounded a child will be.
What is the importance of It is the major form oflearning and develops fine motor and gross motor skills.
play and exploration in Stimulates imaginative and creative ability as well as social interactions. Playing in
developmental growth? groups develops fundamental moral grounds and respect for peers and the
environment.
How do young children By stimulating them, children become aware of the five senses. Letting children
benefit from sensory explore their senses and get messy promotes a well rounded child and prevent them
stimulation? having interaction problems later in life. e.g. germaphobia (fear of germs),
ataxophobia (fear of mess and dirt)
Do you believe current No

environments for children are
suitable and well designed
according to their needs?
What variety I types of spaces Children enjoy climbing areas, balancing apparatus. They use the playground and
do children make most use of natural gardens, water troughs, sand pits. Dress up and role play areas are well used
and enjoy? and a variety of space sizes and types are used depending on the child and their
needs.
How can the design of spaces Smaller zones within big spaces are needed for different activities. Different levels
for children be improved? within spaces with different means of climbing up and down. Curved wall and tight
angles make furniture difficult to accommodate, however, these spaces could be
good hiding spaces and add interest. Low windows in play areas would be
beneficial, but they can be distracting in a classroom setting.
Do you believe that the built Yes. Only if it caters for the various needs of children. E .g . variety of spaces, fine
environment can be viewed as motor and gross motor activity, free play, imaginative and creative play.
a "teacher", and play a role in
the learning process?
What importance I role do the The family and community determine the kind of social interaction and moral basis
community and family play in children have. It is beneficial if the parents are involved in furthering the child's
children's development? education. Teacher, parents and child must be one unit on the same page. This
enables the child to see unity among those involved in their life.
177
INTERVIEW SCHEDULE B: Answered Example 2
Do you suppose there is a Yes. See below

correlation between children's
development and their
environments?
What role does the environment Environments that encourage social interaction are essential for the
play in children's lives? development of social skills. Physically, it is important that an environment
(physically, socially and has enough space, and ''tools" to encourage various gross motor activities.
psychologically) This is essential for visual perceptual development and development of
musculature, balance skills ...
What is the importance of play and Play and exploration are important for a young child. On a gross motor level,
exploration in developmental play is essential for the normalization of muscle tone (children who engage in
growth? limited gross motor tasks often have low muscle tone, which impacts on
attention, concentration, endurance ... ), for balance, motor planning ... Play
and exploration are essential for the development of imagination, reality
testing, visual perceptual skills, social skills ...
How do young children benefit Young children require sensory stimulation to development visual perceptual
from sensory stimulation? skills. Sensory stimulation is also important for mood and the development of
body awareness and proprioception (awareness of the body's position) -
tactile input in particular is important for the development of these aspects.
Children need to interact with their environment on a gross motor and fine
motor level for consolidated development of these skills, amongst others.
Do you believe current In school environments, classrooms seldom seem to be designed specifically
environments for children are to stimulate children I provide sensory input. At times even the outdoor areas
suitable and well designed are limited. Outdoor and indoor areas tend to be kept distinct and separate,
according to their needs? and when it rains children are confined to classrooms. Most of the schools I
work at have relatively small classrooms, filled with desks and toys. Often
environments for children tend to be too small and cluttered, which
encourages distractibility whilst limiting free, unstructured play. Sensory
stimulation is provided by toys rather than the environment itself. Children
love playing in areas that provide surfaces of varying heights, such as tunnels
they can crawl under and large blocks and "bridges" that they can climb on.
Surfaces at varying heights encourage development of spatial awareness but
are limited to jungle gyms.
What variety I types of spaces do The children I work with love to play outdoors in wide, open spaces with lots
children make most use of and of room to run and play. Many ofthem tend to seek tactile stimuli, choosing
enjoy? to play in sand pits, water or mud. Younger children like to take their shoes
off to run around in the grass. Jungle gyms and large boxes, barrels etc. where
they can hide in and climb over are very popular.
178
How can the design of spaces Spaces should include more varying surfaces, such as slopes and tunnels. Spaces
for children be improved? could include more tactile and olfactory stimuli (e.g. more trees in playgrounds,
surfaces of varying textures indoors). Children would benefit from larger indoor
areas, particularly with that indoor-outdoor landscape and providing an area with
enough space for a child to run and explore in a sheltered environment (particularly
as outdoor play is limited by weather, particularly in winter).
Do you believe that the built Yes. I work with many mainstream children with gross motor, fine motor and
environment can be viewed as visual perceptual problems. Much of the work I do with these children focuses on
a "teacher", and play a role in creating a play situation that provides the child with specific sensory input. If
school environments were designed specifically to provide children with the
the learning process?
required sensory stimuli, and to facilitate exploration and play using surfaces of
verifying heights, to encourage running, balance etc. it is likely that this would
afford further development of these skills that many mainstream children currently
battle with. As the child interacts with the sensory rich environment they will
experience learning and development in various gross and fine motor and
perceptual areas.
179
PART TWO
DESIGN REPORT
1
PART TWO
DESIGN REPORT
CHAPTER! INTRODUCTION................................................................................................... 01
1.1 INTRODUCTION .............................................................................................. 02
1.2 PROJECT DESCRIPTION................................................................................ 02
1.3 THE NOTIONAL CLIENT ............................................................................... 03
1.3.1 The Client's Organisation............................................ 03
1.3.2 The Client's Brief.......................................................... 04
1.3.3 Detailed Client Brief...................................................... 04
1.3.4 Accommodation schedule............................................. 08
1.3.5 Site Selection Criteria................................................... 12
1.4 CONCLUSION.................................................................................................. 13
CHAPTER2 SITE SELECTION, SURVEY AND ANALYSIS ................................................ L4

2. 1 INTRODUCTION.............................................................................................. 15
2.1.1 Geographic Position....................................................... 16
2.1.2 Historical Context........................................................... 16
2.1.3 Demographic Context.................................................... 17
2.1.4 KwaMnyandu Node....................................................... 17
2.1.5 Education, Employment, Crime and Transport......... 18
2.2 URBAN ANALYSIS OF UML.AZI................................................................... 19
2.3 SITE SELECTION AND DISCUSSIONS ........................................................ 22
2.4 HISTORICAL BACKGROUND OF SELECTED SITE................................... 28
2.4.1 History............................................................................ 28
2.4.2 Location.......................................................................... 28
2.4.3 Urban Analysis of Site................................................. .. 30
2.5 DESCRIPTION OF EXISTING SITE CONDITIONS...................................... 36
2.6 SITE ANALYSIS.... ........................................................................................... 38
2.7 URBAN INTENTIONS ...................................................................................... 42
2.8 CONCLUSION.................................................................................................. 42
ii
CHAPTER3 DESIGN DEVELOPMENT AND RESOLUTION............................................. 45
3.1 CONCEPTUAL AND THEORETICAL ISSUES............................................ 46
3.1.1 Introduction ................................................................... 46
3.1.2 Concept Developments................................................. 46
3.2 FINAL DESIGN PROPOSAL.......................................................................... 49
3.2.1 Urban Design Conceptual Developments................... 49
3.2.3 Architectural Design Drawings..... .............................. 50
3.2.4 Physical Model and Sample board.............................. 58
3.3 TECHNICAL DETAILS ................................................................................... 59
3.4 ENVIRONMENTAL STUDY.............................................................. 61
BIBLIOGRAPHY................................................................................................................................... 67
iii
LIST OF FIGl.JRES
Chapter2
2.0 Map of Durban and South Coastal areas with Umlazi's geographic position highlighted (Underlay:
www.googleearth.com; Overlay: Author)
2.1 Map ofUmlazi showing sectional divisions, major transport routes, large green areas, rivers and area
of interest (Underlay: www.googleearth.com; Overlay: Walker Smith Architects, 2008)
2.2 Map ofUmlazi showing the location of schools, and other amenities (Underlay:
www.googleearth.com; Overlay: Walker Smith Architects, 2008)
2.3 Map ofUmlazi highlighting three potential sites (Underlay: www.googleearth.com; Overlay: Author)
2.4 Map showing analysis of Site 1 (Underlay: www.googleearth.com; Overlay: Author)
2.7 Urban analysis of chosen site (Underlay: www.googleearth.com; Overlay: Author)
2.8 Urban analysis of chosen site continued (Underlay: www.googleearth.com; Overlay: Author)
2.9 Full Development Plan envisioned for the Kwa Mnyandu Node (Walker Smith, 2008: 1)
2.10 Latest site survey drawing of the site as it currently exists (Walker Smith Architects, 2011)
2.11 Site analysis of chosen site (Underlay: www.googleearth.com; Overlay: Author)
2.12 Site analysis of chosen site continued (Underlay: www.googleearth.com; Overlay: Author)
2.13 Location of photograph view points (Underlay: www.googleearth.com; Overlay: Author)
2.14 Diagram illustrating urban design intentions (Underlay: www.googleearth.com; Overlay: Author)
Chapter3
3.1 Diagram illustrating proposed urban design solution and improvement of KwaMnyandu Node
(Author)
3.2 Diagram illustrating orientation, solar screening devices and planting (Author)
3.3 Diagram illustrating planning guidelines and cross ventilation via courtyards (Author)
3.4 Diagram illustrating insulated cavity walls used {Author)
3.5 Diagram illustrating insulated cavity walls used (www.regencyirrigation.com)
iv
3.6 Diagram illustrating insulated cavity walls used (www.cnx.org)
3.7 Diagram illustrating planting as effective solar shading and wind protection devices. Vertical gardens
used as screens and green roofs provide liveable spaces (Author)
3.8 Diagram illustrating improvement of biodiversity through wetland revitalisation and permaculture
gardening (Author)
v
LIST OF PLATES
Chapter 2
2.0 Lack of school facilities in Umlazi (Walker Smith, 2008: 12)
2.1 Many Community Centres' in Umlazi are derelict and poor quality (Author)
2.2 Opportunity is present to connect the site to sensory green spaces (Author)
2.3 The current park area is unused and is opportune for development (Author)
2.4 Photographs of current site (Author)
2. 7 Photographs of current site (Author)
Chapter3
3.1 Conceptual collage illustrating aspects of design for children and inspirational pictures (Various &
Author)
3.2 Conceptual collage illustrating aspects of sensory design and inspirational pictures (Various &
Author)
3.3 Diagram illustrating proposed urban design aesthetics Node (Various)
3.4 Photographs showing energy harnessing playground equipment (www.jazmynjourneys.blogspot.com,

www.inhabitots.com)
vi
CHAPTER!
INTRODUCTION
1
1.1 INTRODUCTION
From the preceding theoretical study of sensory stimulation as an architectural design

tool and the examples of international buildings that express this, the importance of the
senses in architectural perception for adults and particularly children is recognised.
However, in studying local buildings for children, the conclusion was drawn that this
approach to architecture has generally not been well applied in KwaZulu-Natal. The aim
is to utilize the information obtained from the review of literature, and empirical data
acquired to aid in the derivation of a design brief, selection of an appropriate site and
inspire the design of a Children's Centre and Community Facility in Umlazi.
This chapter briefly describes the Client, their requirements and subsequently a brief is
developed for the project, in keeping with the framework set up in the theoretical
discussion. The area of Umlazi is analysed and three potential sites are selected for the
project. These sites are then individually investigated to identify the most appropriate for
the proposed Children's Centre.
1.2 PROJECT DESCRIPTION
A Children's Centre and Community Facility has been proposed as this building typology
is well suited to express the theoretical discourse appropriately. Since the architectural
facility is the beginning of the learning environment and forms the framework in which
development occurs (Loughlin and Suina, 1982, in Spencer, 2006: 93), the project is to be
based on the notion that the maximum learning, fun and development occur in places
designed appropriately for children (de Monchaux, 1981: 18). The building is to pay
cognisance to the way children experience their surrounding and are impacted by them,
and use the guidelines to children' s design discussed in the framework. In doing so, the
project is to practically demonstrate the findings from the literature review and empirical
data obtained.
2
The aim of the proposed Children's Centre and Community Facility is to demonstrate the
relevance of a sensory approach to architecture for children and adults alike as well as the
benefits of such an approach. The project is intended to provide a contrast against other
built environments in KwaZulu-Natal where sensory stimulation is seen purely as an
additional feature of luxury rather than necessity, applied at the end of the design. The
design, from conception to completion, is to be grounded in the conceptual and
theoretical framework established.
While the focus is to remain predominantly on the education and provision of various
facilities for children within the community, the building is also to benefit the families of
such children and the community the building encompasses, thus enhancing its social
sustainability.
Overall, the project is to provide a safe and appropriate environment for children to learn
within and enjoy, integrating parents and caregivers into the developmental process of
their children. Furthermore, it is to uplift the community by providing valuable facilities
they can utilize and creating an environment that is experientially distinct, memorable
and well loved. Skills training and the creation of employment opportunities form the
fmal component of the project, aimed at improving the economic sustainability of the
proposal.
1.3 THE NOTIONAL CLIENT
1.3.1 The Client's Organisation
In 2009, the Municipality of Durban commissioned Walker Smith Architects, Ambro

Afrique Consultants and BKS Consortium to generate an Urban Development
Framework Plan (UDFP) to provide an integrated urban design vision for the
development of KwaMnyandu Node in Umlazi. The Children's Centre is to be part of
that development scheme, thus eThekwini Municipality would act as the Client.
3
The primary source of funding for the project would come from the Municipality. In
addition to this, various charity organisations such as World Vision South Africa and
CHOSA (Children of South Africa), which is an organisation that identifies and supports
community projects that reach out and take care of vulnerable children, Enterprises and
Commercial Financial Organisations would be approached to potentially provide
additional funding towards the maintenance and management of the Centre.
1.3.2 The Client's Requirements
As part of the plan for the regeneration of the KwaMnyandu area, the eThekwini
Municipality has proposed a Children's Centre and Community Facility in recognition of
the need for more facilities of this nature to exist in the Umlazi area. The Client intends to
establish a facility that provides for the educational needs of young children as well as
benefit the community both socially and economically. Thus, training facilities, skills
development and an opportunity for the Centre to generate some form of private income
is necessary.
1.3.3 Detailed Client Brief
The most critical time in brain development and learning occurs during the first five years
of life (Spencer, 2006). An environment which is rich in design, age-appropriate,
developmentally appropriate and sensory stimulating, is required to promote the greatest
learning of young minds. Possibly most importantly, a learning facility must also be an
environment reflective of the child's culture, reinforcing a unique social identity and
strong self·concept (Martin, 1998). The design of the facility is intended to epitomize
such an environment. However, important to note is that the building, while facilitating
the use of children, is not to be 'child-like' in its design and detailing. Rather, a more
subtle approach is to be taken that is beneficial for children while at the same time,
flexible enough to be used by adults as well. The centre is to redefine the language of
architecture for children. Rather than repeating current design trends for children's
buildings which are often inappropriate, inflexible in their use and reliant on primary
4
colours and cartoon graphics to demonstrate their function, the Centre is to focus on
creating a holistic aesthetic, which is appropriate for children while still being flexible for
change.
There are three aspects to the brief that are considered essential in the design of the
Children's Centre and Community Facility as they are directly related to the upbringing,
welfare and influence over the lives of children. These three aspects and their subsequent
functions and facilities are described below:
Designing for Children
The Centre houses a pre-school and creche service, catering for children up to six years.
All necessary features such as learning spaces, play areas, quiet rooms, children's
ablution facilities, kitchen and staff facilities are provided. Such spaces for children are
designed in such a way as to stimulate play and learning. The building shell is intended to
inform the activities and direct the behaviour within, rather than merely house learners.
The outdoor environment is viewed as being as important as the indoor environment and
is designed accordingly. Most spaces have either physical or visual access to the outdoor
area, with the transitional space between the two being blurred and undefmed. The
Children's Centre also enables children to stay overnight if parents are away or unable to
take care of them for a few days.
Facilities such as a children's resource centre and a study area provide space for school-
going children to utilize after school and gain assistance with homework and projects in a
resourceful environment, conducive to studying. These spaces are well needed in this
community as often teachers responsible for large classes lack the time or capability to
provide individual attention to those learners who need it. Home environments can also
be an adverse environment in which to do homework resulting in children falling behind.
Designing for Families
According to the Reggio Emilia education theory and empirical data gained through
interviews with teachers, providing facilities for families in conjunction with those for
children is beneficial to engage parents and caregivers in the process of children's
5
development and ensure they play an active role in the education of their children. The
facilities provided would include a resource centre, child assessment and therapy rooms
as well as provide education on family planning and parenting. Administrative facilities
for these functions would form part of the accommodation schedule. These aspects of the
building are important as they provide parents with much needed information, often not
supplied by schools. Assisting families and children with learning disabilities or other
educational impediments at a young age better prepares the child for formal schooling
and enables teachers, who are often not qualified to diagnose such problems, to assist
these learners more effectively.
Designing for the Community
The Centre recognizes the needs that exist within the Umlazi Community and intends to
provide for those through the Community Centre component of the building.
Unemployment, skills training and a lack of facilities to be used by the community is to
be provided for by this proposal. Also understood, is the benefits of including community
facilities with those for children. The positive impacts of this, such as supervision,
integration between children and their community as well as providing children with a
well rounded upbringing, have been shown in the case studies examined as well as
interviews with teachers.
The first component of the community centre deals with the provision of a large hall for
the community to use for gatherings and meeting rooms. These facilities can be rented
out to enable the Centre to generate an income.
The second component aims to address the critical need for skills training and
employment opportunities. Training rooms, workshop spaces and an employment office
are to be used to educate adults and provide the necessary skills training to aid income
generation and entrepreneurship. An exhibition space is to exhibit work created through
the Centre for purchase by the public. All ancillary functions such as administration,
ablution facilities, kitchen and storage areas are to be included as necessary.
The fmal component provides facilities for use by the aged. Through the case study of the
Shayamoya Community Centre, this aspect of the community centre is shown to be
6
important as it aids in the creation of an inclusive environment, where all members of the
community are welcome and shown value. While the aged population is small in Umlazi,
including them in the centre is important to ensure they do not feel abandoned or
forgotten within society. An activity room and TV venue is provided, as well as a kitchen
where they can receive nutrition. They are also able to assist in the establishment and
maintenance of a pennaculture garden on site.
In conjunction to these building functions, a small number of parking bays are to be

provided for building users not using public transport. Service and maintenance facilities
such as a meter room, refuse area and caretakers office are also to be provided.
In addition to these facilities, the centre is to serve as an oasis in the urban environment.
An abundance of greenery, planting and open outdoor space in beneficial in terms of the
human psyche, the human spirit, children's development and place experience, as well as
providing a welcome sensory experience. Thus, landscaping, planted courtyards and
outdoor spaces are viewed as having equal importance as indoor spaces and are designed
accordingly.
7
ACCOMMODATION SCHEDULE
DESCRIPTION PARTICULARS QUANTIT AREA(MZ) AREA TOTAL FURNITURE I FITrlNGS
y (M2)
Entrance
Entrance foyerflobby Circulation and waiting space 1 140 140 Lounge seating
Reception 1 35 35 Reception desk, chair
Ablutions Off reception I 40 40 F: 4WC, 2WHB M: 2WC, 2WHB, 2UR
I
m
Children's Centre
Reception Connect to central receotion area I 15 15 Desk. chair I
Waiting area 1 3S 35 Seatina, information stand
Principal office 1 20 20 Desk. chair
Nurse I sick room 1 16 16 Desk. chair, bed, whb
Admin store 1 10 10
Teachers work room 1 18 18 Tables, chair! storage
Staff offices 3 9 27 Desk, chair
Meeting room 1 18 18 Boardroom. chairs
Staff room 1 35 35 LounJte furniture
Verandah Off staff room 1 100 100
Kitchen Connected to staff room 1 12 12 Fridge BIC co
Ablutions 1 20 20 F:2WC,1WHB M: 1WC,1WHB,1UR
Printing room Central comdor area 1 10 10 Printers
Classrooms Outdoor access mezzanine levels 4 100 400 Desks chairs, cupboards
Children's ablutions Shared between 2 classrooms 2 20 40 SWC, 6WHB, Willi uriJlals
~ Toddlers room Close to staff 1 so so Cribs, play area
=
"0
QJ
Toddler change (attached to toddlers room} 1 10 10 Changing bed, whb, we
Aftercare room Visible from entrance 1 70 70
'5
r:l.l
Store 1 10 10
Multi1l1Ullose teaching Central to classrooms and playground 1 70 70 Desks, chair stage area
~ Lunch I activity room 1 60 60 Tables, chairs
~
=
"0
laundry
Kitchen
Near service area. 1
1
10 10
ae Overnight accommodation
& caregivers room
Attached toilets 1
30
40
30 Sink, fridges, cupboards. work space
40 Dorms, living area, kitchen,
~ Outside covered play_area 1 240 240 Planting, play !quip_!Dent, sand etc...
<
-.:!;
~ 1 - suDI...a· ' 135'-'1
~
Outside wtcovered play area 1 1000 1000 Planting, play equipment. sand etc ..•
I . . . ,....~
'
Aftercare Zoae First floor
Library 1 ISO ISO Shelves. tables. chairs
Computer area 1 so so Desks, chairs, computers I
IT office 1 1S 1S Desk chair

Study area 1 50 so Tables, chairs
Multipurpose space (extra lessons, group projects) 1 7S 75
Reading lounge 1 so so Lounge furniture, bean bags
Supervisor office
Family Centre
Reception I admin office
First floor
1
I
·- . .
16
30
..
16 Desk, chair, cupboards
30 Desk, chair
Ston: 1 12 12
Waiting area 1 30 30 Lowtge furniture
Resource centre 1 12 12 Display units shelves
~mployment office 1 24 24 Desk. chair
Antenatal SllPtiOrt centre 1 24 24 Desk. chairs
Assessment therapy rooms 2 20 40 Deslc. chairs a-
Meeti_ng room 1 35 35 Board table. chairs
Kitchenette 1 16 16 Sink, fridge, cupboards
Ablutions 2 9 18 4 WC's. 2 whb' s
ut
Community Centre
MultiJ!urpose hall Private entrance, double volume 1 300 3{)0 Loose chairs, stage
Alternate entrance corridor l 170 170
Ablutions 1 so so F: SWC, 4WHB M: 3WC 4WHB, 4UR
Chair store 1 so so
Halt foyer I 180 180 Seating
Retail and exhibition space 1 130 130 DiSJ)lay cabinets, seating
Covered spill out space l 80 80 l.mulg_e seating, fold down screens
Uncovered plaza 1 260 260 Water features, benches. planting
Coffee shop 1 70 70 Coffee bar
Kitchen 1 40 40 Industrial fittiruts
Bin area 1 10 10
Reception 1 12 12 Desk. chair

Admin offices Ooenolan 40 40 Desks, chairs, filina
Store 1 8 8
Waiting lowtl!e At entrance 1 25 25 Lounge furniture
Workspace 1 40 40 Table. chairs
Community training rooms 4 40 160 Chairs, desks
Rentable offices 3 16 48 Chair, desk
Break out space Ooen onto verandah 1 55 55 Bar stools, lowtge furniture
Ablutions 1 35 35 F: 4WC 2WHB M: 2WC, 2WHB. 2UR
Kitchenette A~tob~outspGe 1 8 8 Sinlc, fiidge, cupboards
Reception 1 12 12 Desk, chair

Admin offices Qpenolan 40 40 Desks, chairs, filing
Store 1 8 8
Waiting lowtl!e At entrance 1 25 25 Lounge furniture
Community meeting rooms 3 40 120 Boardroom table, chairs
Conference venue 1 80 80 Chairs, desks
Rentable offices 3 16 48 Chair, desk
Break out 5PGC 1 55 55 Bar stools JoWl~ furniture
Ablutions 1 35 35 F: 4WC, 2WHB M: 2WC, 2WHB, 2UR
Kitchenette Attached to break out SPGC 1 8 8 s~ fridge, cupboards
0
...-I
Workshop spaces 3 60 180 Work benches, chairs I

Store I office Attached to each workshou 3 20 60
Soup kitchen Close to central counyard 1 25 25 Serving counter, cupboards, fridge,
Ablutions 1 40 40 F: 3WC, 2WHB M: 2WC, 2WHB, 2UR !
Covered walkway 1 345 345
~ . --- - ..
Courtyard 1 340 340
r , ]ij1
Centre for the Al!ed
Activity area 1 ss 55 Chairs, tables
TV room 1 40 40 Chairs TV
Verandah 1 55 ss
I
---
' - ·t5ffl
Service area J
Caretakers office I 25 25
Meter room I 25 25
Refuse area 1 20 20
' -~·
~.-,
Vertical cin:ulation 3 floors 50 lSO

Total Approx. Circulation 12% of floor area 581 647
TOTAL 607Sm~
- -
~
~
1.3.5 Site Selection Criteria
The site is selected based on various criteria derived from the preceding literature review.
The primary requirements the site is to fulfil are:
• The site needs to cater for the safety and protection of children and building
users. As children are to be involved, it is essential they be prevented from
dangers associated with the immediate environment. This includes ensuring the
site is able to be enclosed to provide the psychological feeling of safety.
• It needs to be easily accessible via multiple transport modes thereby making the
centre easily available to be used by those with and without private
transportation. Pedestrian access is of particular relevance as the majority of
children will be travelling on foot.
• The site must have linkages to the residential areas as well as schools and other
amenities. This is a basic requirement as the Centre is to be utilized in
conjunction with other amenities and cannot be remotely located. Children will
also be travelling from schools in the area to the centre, thus, a connection must
be evident.
• A key prerequisite of the site is to be in an area of prominence with street front

exposure, thus creating an opportunity to give recognition to the children in the
area, promote their value in society and reflect the importance of their
development.
• The site must be integrated into the community it will serve. The empirical data
obtained expressed the importance and benefit of community involvement in the
facilities. This participation is only able to occur if the site is centrally located
within the community
12
• The site must have connections to other sensory elements including natural
features of the environment. The outdoors provides a naturally beneficial and
sensory environment for all people therefore, a site that illustrates opportunities
to epitomise the current environment into the design is important.
• The existing 'spirit of place' is important in site selection as environments are

often unconsciously experienced, but do greatly influence the experience of
spaces. Since all users approach an environment with preconceived ideas
regarding the experience they expect to have, a site with an existing spirit
amongst the community would enhance one's experience within the space.
1.4 CONCLUSION
The previous discussion has illustrated the importance of selecting a suitable site if the
Centre is to be appropriately designed in accordance with the stipulated brief and
functions it intends to provide. It has become evident that site selection is far more
complex than purely identifying a site with the necessary physical characteristics.
Essential, is the underlying spirit of place and abilities to connect to other sensory
elements. The social characteristics and opportunities of the chosen site are also relevant
in its need to be situated within an existing community in need of such a facility.
Bearing in mind the theoretical discourse, development of the brief and site selection
criteria determined, the following chapter looks into Umlazi as a possible area for sites to
be selected and analysed.
13
CHAPTER2
SITE SELECTION, SURVEY AND ANALYSIS
14
2.1 INTRODUCTION
The area of Umlazi has been selected as an appropriate location for the proposed
Children's Centre and Community Facility. This decision has been made for various
reasons.
• With over 30 preschools in the Central Durban area that provide day care
facilities to the children of different communities, one is required to look outside
of this area to other areas with an obviously greater need for such a facility.
Durban also has an abundance of ancillary facilities such as libraries for
children, parks and playgrounds and sports clubs that are accessible for children
and enhance their development and learning opportunities.
• Umlazi has a population where roughly half the residents are under the age of
twenty nine (Walker Smith Architects, 2008: 5). With such a vast number of
young people, one would expect there to be an abundance of facilities catering to
their needs. However, sadly this is not the case. While there are many schools in
the area, the quality of these facilities is lacking. There are also minimal
ancillary facilities for children to make use of, particularly children below
schooling age. The need for such a facility in the area is apparent.
• In terms of the provision of social facilities, Umlazi is lacking in the number of

such facilities required according to the current population. From the Social
Facilities Provision Table, adapted from the Umlazi Nodal Regeneration Study,
Revised Draft Final Report, (KPM Consortium: 2009), it has been calculated
that within a relatively developed section of Umlazi, Primary Education
Facilities, Community Halls, Play lots, Neighbourhood and Community Parks
are amongst the most lacking social facilities. The urgent need for the provision
ofthese facilities is exposed further.
The following subchapter documents relevant information regarding Umlazi necessary to

understand its geographical position and historical and demographic context.
15
Understanding of such aspects of the area will aid the design of a proposed Children's
Centre in the area.
2.1.1 Geographic position
Umlazi is situated on the south-eastern coastline of KwaZulu-Natal. It lies on the

southern bank of the 'Mlazi' River and stretches to the north ofthe Mbokodweni River.
The city of Durban connects to the area on the southwest. On the east, it is bordered by
Isipingo, Lamontville and Malukazi. Beyond this lie the N2 freeway and the old Durban
International Airport. This eastern entrance, marked by the MegaCity Commercial
Development, is regarded as the gateway into Umlazi.
The M30 Highway is the main route through Umlazi, running East-West through the
area. It is about 20km in length and forms a corridor of mixed use activity, including;
commercial activities, residential uses, educational facilities and sports activities. In the
heart of Umlazi (Section D) is the recently upgraded King Zwelethini Stadium and
regeneration of the KwaMnyandu Node (Walker Smith Architects, 2008: 3).
2.1.2 Historical Context
Umlazi was established in 1950 on the south periphery of Durban by the past apartheid
regime. Created as a commuter labour supply area for the city's industrial area, it
comprises of residents originally from the area as well as those forcibly relocated from
Cato Manor. In the 1960's, housing development began as part of a strategy to foster an
African middle class in the townships. These included formal houses, medium income
housing as well as hostels, mainly in Section T. Since the 1980's, there has been an
increase in informal settlements, forming an infill along major roads, on unused land and
along the southern edges of Umlazi in areas such as Malukazi. Political unrest has been
rife since the 1980's, with protests in 1985 prompted by the assassination of Victoria
Mxenge, a human rights lawyer, outside her home in Umlazi. Umlazi was incorporated
16
into the KwaZulu-Natal homeland towards the end of 1986 (Walker Smith Architects,
2008: 4).
Subsequently, the KwaZulu-Natal administration and the police, together with Inkatha
supporters on the one hand, and ANC supporters on the other, have maintained a tense
co-existence. Some believe that the area remains one of the most violence-tom in South
Africa (Walker Smith Architects, 2008: 4).
2.1.3 Demographic Context
Umlazi is the second largest township in South Africa, after Soweto (Walker Smith
Architects, 2008: 5). A population estimate of 1,677,556 million inhabitants is calculated
based on an average of four members per household. Data shows that ages zero to
twenty-nine represent approximately fifty percent of this entire population. The most
populous ages are between fifteen to twenty-nine. Approximately 28% of this overall
population is employed, 38% are unemployed and 34% are not economically active (KA
Economic Development Consulting and AMR Planning & Development Consultancy.
2008: 50-64).
2.1.4 KwaMnyandu Node
The KwaMnyandu Node and surrounding areas has been selected as the main region of
interest. The importance of this area arises out of the M30 Highway and railway line
meeting at this junction, resulting in a high concentration of people in the area who have
ease of access to transportation facilities. The great potential of this junction to be
developed as an economic node in terms of trading and services is currently being
capitalized on. This is being done through the Urban Development Framework Plan
(UDFP) which seeks to provide an integrated design vision for the KwaMnyandu Node in
Umlazi. The UDFP, formulated by appointed consultant consortia, identifies key
principles and outlines broader strategies to create a flexible framework within which
17
development can occur (Walker Smith Architects, 2008: 1). It seeks to facilitate the
establishment of mixed use activities that include inter-modal transport, commercial,
residential, social and sporting amenities. The upgrade of the existing King Zwelethini
Stadium and establishment of a surrounding sports hub is one such project undertaken
first in the KwaMnyandu area and forms the focal point around which the process of site
selection occurs.
2.1.5 Education, Employment Crime and Transport
The following table, extracted from the Umlazi Local Economic Development Plan
(2008: 10), briefly highlights information regarding education, employment and income,
as well as crime and modes of transport used in Umlazi. This information, although a
number of years out of date, records the low levels of education which has resulted in a
lack of skills and therefore low earning capability in households.
SOCIOECONOMIC SUMMARY PROFILE

INDICATORS
Population EThekwini and Umlazi population by number of persons and households has
increased between 2001 and 2007 indicating an overall increasing trend
Age groups More than 50% ofthe population are youths with the average age of the
population is mid-twenties followed by a decline in the population age cohorts
thereafter
Educational Institutional Data shows approximately 600/o emolled at school indicating a large youth
Enrolment population and may be proxied to indicate low levels of overall skills level
Educational Attainment 36% completed grade 12 and 26% have some secondary schooling compared
with7% attained higher educational levels
Employment Status High unemployment rate at 36%;
Household Income More than 75% report as having no income
Employability Population not trained or skilled in areas where potential demand may arise
(such as construction or manufacturing)
Labour absorption Potential is poor; Local economy has a labour surplus with the economically
inactive population engaged in informal sector activity
Wages Employment is primarily in unskilled or semi skilled sectors with low wages
and an insignificant level of output to eThekwini municip_al economy
Crime High levels of crime has the potential to dampen inward investment
Mode of Transportation Overall, Umlazi's residents use public transportation such as train, bus and
informal taxis; Census 2001 data should be observed with caution
(Source: Community Survey 2007, Statistics South Africa)
18
2.2 URBAN ANALYSIS OF UMLAZI
The image below shows Umlazi in relation to the greater Durban area as well as other
significant surrounding areas. Major road transport leading to the area is highlighted in
yellow. From this map, one is able to see that lack of development in the Umlazi area
when compared to areas such as Pinetown, Durban CBD, the Bluff and Prospecton.
(Fig 2.0: Map of Durban and South Coastal areas with Urnlazi's geographic position highlighted. Soucce: Underlay.
www.googleearth.corn; Overlay: Author)
19
The figure below illustrates the area of Umlazi in its more immediate context. One is able
to see the area, divided into sections, is bounded by rivers on the North and South. The
East boundary is formed by the N2 Freeway and the industrial area of Prospecton and
Isipingo. Transport modes, highlighted in yellow and orange, run East-West in the centre
of Umlazi. The area of interest, in the central 'heart' of Umlazi, is situated near the
intersection of the two transport modes. Thus the area is one of prominence and
importance.
GREEN BELTS I OPEN SPACE - MAJOR ROADS

RIVERS ---- RAIL
(Fig 2.1: Map of Umlazi showing sectional divisions, major transport routes, large green areas, rivers and area of
interest. Source: Underlay: www.googleearth.com; Overlay: Walker Smith Architects, 2008)
20
The following figure illustrates the area of Umlazi with amenities, schools and various
facilities highlighted. Evidence of the vast number of schools throughout is illustrated.
Within the area of interest, three community centres are situated on the periphery, one
clinic is evident and one library is situated on the boundary. In light of this area being one
of importance and having a high density of residents and people passing through due to
the transport routes, the number of facilities is found lacking. Despite the abundance of
schools, it must be noted that the quality of such facilities is unable to be expressed in this
format.
SCHOOLS • COMMUNITY CENTRE

• POLICE STATIONS + HOSPITALS
• LIBRARY + CliNICS
(Fig 2.2: Map of Umlazi showing the location of schools, and other amenities. Source: Underlay:
www.googleearth.com; Overlay: Walker Smith Architects, 2008)
21
2.3 SITE SELECTION AND DISCUSSIONS
(Fig 2.3: Map of Umlazi highlighting three potential sites. Source: Underlay: www.googleearth.com; Overlay: Author)
22
SITE OPTION 1:
- MAIN ROAD
SECONDARY ROAD
INFORMAL SETTLEMENT
f)
II
-
BUSSTOP
CHURCH
PROMINENT EDGE
(Fig 2.4: Map showing analysis of Site I. Source: Underlay: www .googleearth.com; Overlay: Author)
Strengths & opportunities

• Well integrated into the community and surrounded by amenities such as
schools, swimming pool complex, boxing hall, clinic and retail facilities.
• Residential area overlooks the site, improving surveillance and safety.
• Accessible by bus, taxi and pedestrians.
• Site has a prominent edge with good street exposure.
• Run down care centres in the area illustrate the need for such facilities in the
area.
23
Weaknesses and threats
• West orientation results in difficulties regarding building performance in terms
of thermal comfort levels and extreme lighting conditions.
• Not directly off a main road.
• Less accessible by railway. The distance to the railway station is approximately
lkm.
• Relatively steep site could create an expensive and complicated construction
process.
• Informal settlements nearby create negative associations of the area.
SITE OPTION 2:
- MAIN ROAD
SECONDARY ROAD
INFORMAL SETTLEMENT
0
II
-
BUSSTOP
CHURCH
PROMINENT EDGE
SENSORY GREEN SPACE - STREAM
(Fig 2.5: Map showing analysis of Site 2. Source: Underlay: www.googleearth.com; Overlay: Author)
24
• Residential area overlooks the site improving surveillance and safety.
• Easily accessible by bus, rail, taxi and pedestrians.
• Exposure to north orientation which is ideal in terms of optimizing building
performance
• Comer site provides opportunity for an iconic feature to function as an entrance
or gateway onto the site.
• Situated on a main road, it has good street front exposure, while simultaneously,
being a comer site, it allows for access off a secondary, quieter road.
• Linkage to natural sensory elements such as a stream and vegetation.
• Public area with a high density of people results in a safer environment.
• Temporary structures attempt to house a small creche on site currently, clearly
illustrating a need for permanent and efficient children's facilities in the area.
• The development of the KwaMnyandu Node proposed in the UDFP has
identified the area along Ntonto Drive being developed as Mixed Used 2- retail I
residential I office. Mixed use developments provide the opportunity for families
to live and work close together, thereby providing further incentive for facilities
of this sort to exist in the same area.

• Does not have direct connection with a school.
• Pedestrians who currently walk through the site will need to be diverted.
• Busy and potentially dangerous main road will need to be made inaccessible by
children within the facility.
25
SITE OPTION 3:
- MAIN ROAD
SECONDARY ROAD
INFORMAL SETTLEMENT
CD
II
-
BUS STOP
CHURCH
PROMINENT EDGE
SENSORY GREEN SPACE
(Fig 2.6: Map showing analysis of Site 3. Source: Underlay: www.googleearth.com; Overlay: Author)

• Directly associated to a school, with amenities such as a church and small shops
nearby.
• Well integrated into an established community.
• Residential area surrounding the site improves safety through continuous
surveillance.
• Opportunity to revitalise a neglected and unused school playground area.
26
• An existing small creche on the site further iJlustrates a need for children's
facilities in the area.

• Situated within a completely residential area, accessibility is difficult for those
that do not live in the area. Major roads are a fair distance away.
• The large number of shebeens surrounding the site reflects an unhealthy social
situation, not conducive to children's services.
• The site is not situated in the immediate vicinity of the KwaMnyandu Node
upgrade; therefore it would not fall under the UDFP and would require private
funding.
• There are no surrounding naturally sensory areas to connect with.
• The current church on the block occupies the most prominent corner position.
Thus the view from the approach to the building would be compromised.
SUMMARY OF SITE OPTIONS
SITE SELECTION CRITERIA SITE 1 SITE2 SITE3

Safety and protection of children and
3 3 4
building users
Easily accessible via multiple transport
2 4 1
modes
Linkages to residential areas, schools and 3 3 3
amenities
Prominence with street front exposure 3 4 2
Integrated into the community 4 4 4
Connections to sensory elements 3 4 1
Spirit of place 2 4 3
TOTAL 20 26 18
(4-excellent 3-good 2-fair 1-poor)
27
Final Site Selection
After applying the site criteria, Site 2 received the highest rating overall and has therefore
been selected as the preferred site. The major advantage of this site is that is it situated in
a prominent area. This means that it is easily accessible via all modes of transport and the
high density of pedestrians in the area improves the safety which is important for
children. The second major advantage is that the site is currently a sensory experience in
itself. the above renders the site a suitable and successful choice in the context of this
dissertation.
2.4 HISTORICAL BACKGROUND OF SELECTED SITE
2.4.1 History
Originally, the site was designated as formal residential and undesignated open space. A
lack of sub-divisions on the site, and the stream running through the site, resulted in the
land being left unoccupied until informal settlements began to appear. Up until the end of
2008, informal settlements covered the site, along with much unoccupied land alongside
the Mangosuthu Highway.
As a result of the upgrade of the King Zwelethini Stadium and sports hub, as well as the
regeneration of KwaMnyandu Node, these settlers were relocated to nearby RDP
housing. Subsequent to this, a small bridge, parking and temporary structures housing a
creche have been established. The remainder of the site has been left open as a
community park and picnic area.
2.4.2 Location
The selected site is located within the KwaMnyandu node, in the heart of Umlazi. The
site is bordered by the Mangosuthu Highway and Ntonto Zulu Drive, the comer of which
28
is very prominent on approach. West of the site, across the Mangosuthu Highway, is the
Indoor Sports Centre, King Zwelethini Stadium and sports hub. This development
extends to the KwaMnyandu Station, resulting in a safe and short connection for
pedestrians between the station and the site. North of the site is a public park area in need
of revitalisation as it currently under-utilized. Also north is a residential area which
continues to the East. South of the site across Ntonto Drive are further residential areas
and green open space which connects the railway station to the site this area has much
potential to become part of the urban development and regeneration of the surrounding
area. The site is accessible by all relevant modes of transport with a bus and taxi stop
situated on the west site boundary.
The site is currently fenced on the East, West and South boundary with pedestrian access
at a number of points. The site is used as a thoroughfare between the northern residential
areas and the Mangosuthu Highway. In the northern portion of the site is a stream that
flows from the Mlazi River. On the southern portion of the site, temporary prefabricated
structures house a creche on site with a small, fenced playground.
An urban analysis of the area surrounding the site follows:
29
MAJOR :rRAFFIC
-~ ROUTE
--· MINOR TRAFFIC

ROUTE
MAJOR PEDESTRIAN
ROUTE
MINOR PEDESTRIAN
ROUTE
..... -.. RAIL
• • • KWA MNYANDU NODE
BOUNDARY
SlREAM
c= I GREEN SPACES
-+ VIEWS
V)
0 •• PRIMARY LANDMARK
FEATURES
SECONDARY LANDMARK
FEATURES
0
ct
~
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e
g.
§,
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w
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0 0(I)
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(Fig 2.8: Urban analysis of chosen site continued. Source: Underlay: www.googleearth.com; Overlay: Author)
31
2.4.3 Urban Analysis Continued
The two major problems in the Umlazi area that this project aims to address are:
Firstly, it is evident from the previous urban analysis [figure 2.8] that many schools exist
within Umlazi, but there are very few facilities for children in the age group preceding
formal schooling. This age group is often seen playing on the streets and in vacant spaces
as they do not have facilities open to them that suitably cater for their wants and needs.
Furthermore, there is very little in the way of afterschool activities for children attending
school, or spaces conducive to studying and homework. Children in the surrounding
informal settlements are particularly disadvantaged as their living environment makes
studying and project work very
difficult outside of school
hours.
(Plate 2.0: No facilities, or a single facility

for after school activities, such as a
rudimentary basketball court, are found in
schools in Umlazi. Source: Walker Smith,
2008: 12)
The proposed Children's Centre and Community Facility aims to provide such facilities
for children within the community thereby enhancing their access to education and
providing a safe environment for them to take part in activities such as play, which is
foundational to their development and enjoyment of life. The proposed resource centre is
to be easily accessible from residential areas, unlike the current general library which is
situated north, in section W, in a more commercial area.
With the inclusion of facilities for the families of the children, it is expected that the
importance of education will be confirmed and practically demonstrated, thereby
encouraging parents to persuade their children to remain in school for as long as possible
and gain a complete education. The proposed Children's Centre and Community Facility,
even on a small scale and optimistic level, aims to contribute to the economic growth of
32
Umlazi as it is only through education that people in Umlazi will be able to generate an
income and thereby positively contribute to the wealth of the area.
The second problem to be rectified is the lack of facilities available for community use.
The proposed building is intended to provide spaces large enough for community
gatherings and meetings. Through the proposal and the community's involvement in the
design, construction and detailing, it is anticipated that a sense of pride and identity is
brought into the community. The facility is to also demonstrate the value of the society it
serves, particularly the children, thereby teaching them of their importance in society and
uplifting their self-concept.
(Plate 2.1 : Many Community Centres

in Umlazi are derelict and poor quality.
Source: Author)
A multisensory architectural approach is to enhance the experience had by children and

community members within the built environment. The building is to serve as an example
of holistic architecture that values the experience of the human body. This example is
intended to aid the design of future developments in the area by creating awareness of the
neglected senses and exposing the benefits of designing with them in mind. There is
further opportunity in the context of the chosen site to extend this design philosophy to
the southern green open areas and create an experiential path of approach to the site for
the pedestrian.
33
(Plate 2.2: Opportunity is present to connect the site to sensory green space such as this, thereby improving the
experience of pedestrians in Umlazi. Source: Author)
This sensory approach is also intended to uplift and improve the currently public park on
the site. This space is currently being used as a thoroughfare rather than a park, thus, it is
not being utilized for its intended purpose. Providing ancillary functions onto the site
would help encourage
greater use, thereby
enhancing regeneration
and improving safety.
(Plate 2.3: The current park area

is unused and in need of
attention. Source: Author)
It is also to be noted early on that this proposal is to form part of a greater urban design as
proposed in the UDFP (Umlazi Development Framework Plan) for the KwaMnyandu
Node. The context of the site is to be developed further to become a hub of activity with a
greater concentration of people. The need for such a facility will become even more
evident in later years as the node is developed further. One issue to be addressed within
the urban development of the proposed facility, is the need for connection linkages to
exist between facilities highlighted in the urban analysis. The Mangosuthu Highway has
been partially addressed in this regard, however, this needs to be improved and applied to
Ntonto Zulu Drive as well. As part of this initiative, it is intended that pedestrian access
to such facilities will be improved and given more authority as currently 20% of the
34
Umlazi population travel on foot (KA Economic Development Consulting and AMR
Planning & Development Consultancy. 2008: 9).
(Fig 2.9: Full Development Pl.a.r1 ,..,.".... '"'" ....

Walker Smith, 2008: 31)
35
The urban analysis is summarized in the diagram following:
ISSUE 1 ISSUE2 ISSUE3

Lack of Facilities Poor Quality Poor Linkages &
for Children Community Facilities Pedestrian Routes
I
Prior Schoolmg
\
After School
ACCOMMODATION OF THE FOLLOWING IS SUGGESTED
children's center c resource center multipurpose venue strong physical connections

kindergarten (1-6) " homework I study zone meeting space created between facilities
play space "' safe, fun environment, training facilities provide widened pavements
conducive to learning workshop space sheltered routes
., pop-in aged centre 'pedestrian friendly' streets
__
'
..
=r ---
l==O=P=PO=R=T=~=N=_I=T!~=S=-
CHILDREN
& FAMILY
c
'
8~~~~~~L! involve families In child's development
families shown importance of a full education~ ECONOMIC
therefore children encouraged to stay in school, BENEFIT
therefore become employable
family planning education
SOCIAL
BENEFIT inclusive environment promotes community upliftment & pride
[
COMMUNITV opportunity to involve children & community in developj ent
e create employment I entrepreneurship opportunities ECONOMIC
BENEFIT
®creates awareness of the human body
c memorable experience
MULTI- HUMAN e set example for future development
SENSORY BENEFIT
o connect green area to create sensory approach
e regenerate the existing park I braai area by providing
ancillary facilities to be used in conjunction
ID safety for pedestrians encourages people to the area
o safety ~r children t~veling on foot ENVIRONMENTAL
LINKAGES&
PEDESTRIAN~
HUMAN&
SOCIAL
"' less reliance on public transport :J BENEFIT
BENEFIT ;:; the environmental image of the node is enhanced
.:: the spirit of place and imageability is created
2.5 DESCRIPTION OF EXISTING SITE CONDITIONS
Since the redevelopment of the KwaMnyandu Node began, a revised site survey which
would be issued by the town planning department has not yet been conducted. However,
the as-built drawings of the site as it currently exists, conducted by the UDFP
36
Consortium, along with the site constraints give an accurate portrait of the existing site
conditions.
Cognisance is to be given that the development control guidelines for the KwaMnyandu
Node have not been revised since the initial town planning of Umlazi. The developments
that have occurred were done so by application to the municipality. It is fair to assume,
that application for the following guidelines pertaining to the site be reconsidered and
amended according to the current development that has occurred in the area, and further
developmental plans.
Development Control Guidelines:
Maximum Height: 2 Storeys

Permitted Coverage: 30%
FAR: 0.5
Building Lines: 7,5m on Major Roads; 5m on Minor Roads
!'/
.~ ..-/-·~·-J.~
-·-·-·-·-·-·-·:::--'·.-~.~~·~~~
·-·-·-·-.'""' ~,.,
(Fig 2.10: Latest site survey drawing of the site as it currently exists. Source: Walker Smith, 2011)
37
2.6 SITE ANALYSIS
THE SITE
KING ZWELETHINI
STADIUM & SPORTS
HUB
GREEN SPACES - - - MAJOR ROAD

PROMINENT EDGE
••
- .... - - - MINOR ROAD
BUS STOP ...................... PEDESTRIAN ROUTES
TRAFFIC LIGHTS [I]]] PEDESTRIAN CROSSING
(Fig 2.11: Analysis of chosen site. Source: Underlay: www.googleearth.com; Overlay: Author)
38
••·-.............
......
·. .....
"·
"' ,,
THE SITE
•. .··. I
'•,
SOUlll
WESTERLY
KING ZWELETHINI
STADIUM & SPORTS
HUB
.........
•, .. NOISE SURVELLIANCE
SENSITIVE AREA
•···········• LINKAGETO
SENSORY SPACES
(Fig 2.12: Site analysis continued. Source: Underlay: www.googleearth.com; Overlay: Author)
39
(Fig 2.13: Location of photograph viewpoints. Source: Underlay: www.googleearth.com; Overlay: Author)
(Plate 2.4 & 2.5: Photographs reflecting current site conditions. Source: Author)
40
(Plate 2.6 - 2.11 : Photographs reflecting current site conditions. Source: Author)
41
2. 7 URBAN INTENTIONS
I
f
I'
KING ZWELETHINI
-------
STADIUM & SPORTS
HUB
(Fig 2.14: Diagram illustrating urban design intentions. Source: Underlay: www.googleearth.com; Overlay: Author)
2.8 CONCLUSION
The theoretical study of relevant literature, its application in international and local
buildings examples, as well as the analysis and conclusions drawn from the study, has
provided a fitting basis for the establishment of a project description and design brief.
Fundamental to this brief is that the Centre pay cognisance to the way in which children
engage with their environments and learn from them. Overall, the project is intended to
42
provide a pleasing atmosphere for children and adults alike that illustrates the benefits of
architecture designed for the senses.
By approaching architecture for children in this multisensory manner, it is anticipated

that the spaces created will be well loved, well used and play a fundamental role in the
developmental process of young children. The importance of involving communities and
families into the developmental process of children has been acknowledged and therefore
the provision of facilities for the community is included. The opportunity to enhance the
social and economic sustainability of the project has been recognised and considered as
essential in the context ofKwa-Zulu Natal and particularly Umlazi.
In looking at various options for the selection of a site, Umlazi was found to be relevant
to the topic and a place of opportunity and necessary development of this kind. Through
an analysis of the KwaMnyandu Node, numerous potential sites were identified. The site
opposite the upgraded King Zwelithini Stadium was found more appropriate and most in
keeping with the criteria established from the preceding theoretical discourse. Its visual
prominence, accessibility and existing sensory qualities made it the most rational choice
for further analysis.
The urban analysis conducted has shown the anticipated rectification of two ills in the
Umlazi area. Firstly, such a facility on the chosen site would provide facilities for
children who have very little space of their own to play and learn in a safe environment.
This is applicable to children prior to formal schooling and those throughout their
schooling career. Furthermore, accessible resources are to be made available to children
in the area by the provision of a children's library.
Involving parents in the development of their children by providing services for them,
one expects the importance and value of education and children's welfare to be illustrated
to them. By encouraging children to remain in school and gain an education, it is hoped
that the future of Umlazi's economy, in terms of employment opportunities and
entrepreneurship, will improve. This will also permit the educated beneficiaries to
assume leadership roles within the community.
43
The second ill to be changed is the lack of community facilities. The urban analysis of the
greater Umlazi area has revealed the provision of facilities for the use of communities is
far less than necessary. This project aims to provide such multipurpose spaces to be used
by the community as needed.
The multisensory architectural approach aims at enhancing the experience had within the
Centre, thereby engaging and uplifting the spirit of those who use it and ensuring it
remains a part of their memories. The Centre aims to remind users of the importance of
their human bodies and allow them to fully appreciate those things that engage the
senses. They are to rediscover the world through the experience of the body and interact
with it on a first hand level, rather than as a mere spectator.
As a fmal note, the Centre needs to reflect and take cognisance of the community it
intended to serve. It is central that the children remain at the heart of the design process
as it is essentially their development and welfare that the Centre aims to promote through
multisensory architecture. Their culture, needs and way of life must be well considered to
ensure the final product is socially contextual, beneficial and all-embracing.
The preceding information and conclusions drawn are intended to aid the design of an
appropriate Children's Centre and Community Facility in Umlazi that is well integrated
into its urban context, and economically and socially sustainable. It is to be used as a
guide in the conceptual and design development of the Centre, which strives towards an
appropriate response to the surrounding context, site constraints and opportunities.
41
CHAPTER3
DESIGN DEVELOPMENT AND RESOLUTION
45
3.1 CONCEPTUAL AND THEORETICAL ISSUES
3.1.1 Introduction
The purpose of this chapter serves to illustrate how the theoretical discourse,
development of a project brief and study of the urban environment has informed the
design of a Children's Centre and Community Facility in Umlazi. This illustration begins
with an understanding of the conceptual framework which has informed and led to the
development of an actual building. The urban design scheme surrounding the proposal is
illustrated and detailed design drawings follow. The technical resolution of a portion of
the building as well as significant details serves to demonstrate the viability, practicality
and constructability of the Centre within its urban context. The chapter concludes with a
study on the environmental impact of the building and highlights the pertinent aspects of
sustainable architecture considered within this urban and architectural design.
3.1.2 Concept Developments
In terms of conceptual thought, the over arching intention is for the Children's Centre and
Community Facility to illustrate the research findings which suggest that sensory
stimulation is an important design tool, not given enough recognition in contemporary
architecture. The benefits of such sensory architecture are numerous in terms of public
perception and experience and should be considered in all future design projects. This
building is to demonstrate how every architect and every project can improve the human
experience through architecture. The findings also suggest that the sensory experience
had by children is significant in terms of their development, learning, psychology and
place making. The design of this facility is to demonstrate these finding by creating not
just a functional building, but also a sensory experience specifically designed to enhance
the architectural experience had by all. The sensory approach further serves to create an
environment beneficial and developmental appropriate for children to enjoy.
46
••••••••••••••••••••••• •••••••• •••
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(Plate 3: I : Conceptual collage illustrating aspects of design for children and inspirational pictures. Source: Various &
Author)
The concept for this building is drawn from the theoretical study undertaken of sensory
architecture and its significance in terms of the human experience of space, particularly in
relation to children. In all precedents, case studies and current literature, what has
emerged is the finding that 'good' architecture that responds to the senses is not
necessarily that which overloads the body through the stimulation of the senses. Rather,
'good' sensory architecture happens when designers pay attention to the sensory
experience, empowering them to use this knowledge to intentionally invoke and direct
mood, emotion and experience. The term Oasis ofSensory Experience is used as the
intention is for the Children's Centre and Community Facility to become a place of
sanctuary and source of life within the community is serves. The building is a place
designed to have a healing, uplifting and restorative effect on the people that occupy it.
Much of this concept is reliant on details and texture and the design of individual spaces,
thus, the thought process and detailing of certain significant areas has been shown in the
architectural drawings which follow.
47
I
textwe floor texture bafiis1mles temper.lilr~
(Plate 3:2: Conceptual collage illustrating aspects of sensory design and inspirational pictures. Source: Various &
Author)
Within this 'sensory oasis', everyday aspects of the architectural experience are made
wrique. That which is usually commonplace is seen in its ability to become a
multifaceted, memorable and extraordinary experience. The question asked is: how can
this space/wall/balustrade/comer become more than a purely functional element and
impact the human experience in a positive way? In this frame of mind, a stair is no longer
viewed as a purely a functional change in level; rather, it is a loose part in the
environment that can assist in vertical movement while also being a unique experience
that engages the sensory modes. A wall is seen not purely as a boundary of space; it as a
defining element that can engage the eye, hand and kinesthetic sense.
48
3.2 FINAL DESIGN PROPOSAL
<>
i
I
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(Fig 3.1: Diagram illustrating proposed urban design solution and improvement of KwaMnyandu Node. Source:
Author)
(Plate 3.3: Diagram illustrating

proposed urban design aesthetics
Node. Source: Various)
49
3.2.3 Architectural Design Drawings
The following pages document the architectural design drawings of the Children's Centre
and Community Facility.
Photographs of the physical model and sensory sample board constructed follow these
pages along with the technical resolution and detailing of the proposed project.
50
The study of sensory stimulation as an architectural design generator. ..
A CHILDREN'S CENTRE AND COMMUNITY FACILITY For the KwaMnyanduNodeinUrnlazi.
DESIGN GENERATOR SKETCHES SENSORY ANALYSIS

.
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3.4 ENVIRONMENTAL STUDY
This environmental study serves to illustrate a few pertinent aspects related to sustainable
architecture that have been considered within this urban and architectural design. The
intention in raising attention to these issues is to achieve healthier and more
environmentally friendly working and living conditions for the Umlazi community.
3.4.1 Sustainable Architecture
The main goal of sustainable architecture is to minimise the overall environmental

impacts of a building throughout its life cycle. Within the Children's Centre and
Community Facility, aspects of sustainable architecture considered are highlighted
below:
Orientation: The majority of the building is orientated north where, although there is
much direct sunlight, its altitude is high making it easier to shield against, and allowing
more pleasant filtered light to enter. The light entering on the north side is filtered
through solar screens. Planting on this side of the building also reduces temperature
build·up. The main building shields the remainder of the site from intermittent SW
stormy winds creating more pleasant outdoor courtyard and living spaces.
61
•.
··-.
··.....
INTERNAL COURTYARDS
Plj: NIN" RED\JCE~
SHELTERm FROM SW
STORMY WINDS
.,.
..-~~~
· • ·
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NORTHUGHT
~-
FILTER NORTH UGHT
•.••
'•.
;;..,
;;;;
;;..,
;;;;
..~/;;lw STORMY WINDS ARE
' BLOCKED BY BUILDING MASS
(Fig 3.2: Diagram illustrating orientation, solar screening devices and planting. Source: Author)
Planning: In terms of planning, east and west sides of the building are buffered with
unconditioned spaces such as ablutions, stairwell, stores etc... Frequently used, habitable
spaces are placed along the south side and are given maximum lighting through glazing.
Floor plates are kept narrow to allow for natural cross ventilation. This cross ventilation
often happens via surrounding courtyard spaces. These spaces create naturally cool areas
which filter into the building thereby reducing the need for mechanical ventilation. The
need for mechanical ventilation is further reduced by cavity walls which act as thermal
insulators, keeping heat out during summer and retaining heat during winter.
62
NARROW FLOOR PLATE~
ALLOWS FOR CROSS !
VENTilATION
••
. .
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"'·~· ..
BUFFERS BUJLIJJI~G
•••••• •••••••••••••• ••••••••••• ••
FROM WEST l,'SHT i .,,,,.....:..................1 I • r ..·~sf'R\r.CE AREA
HABITABLE SPACES ON SO~TH ! ...................~ ·· '.- · ·~ i !BUFFERS BUU.DJNG
!IDE HAVE MAX GLAZING :. L.J FROM EAST UGHT
HAIHTABLE SP..\C'ES ON onJI{f NARROW FLOOR PLATE
SIDE HAVF. MAX GLAZING •. AUDWS FOR CROSS
-4 VENm.AnoN
(Fig 3.3 : Diagram illustrating planning guidelines and cross ventilation via courtyards. Source: Author)
(Fig 3.4: Diagram illustrating insulated cavity walls used. Source: Author)
3.4.2 Sustainable Technology
Sustainable technology focuses on technologies which use less energy, minimize the use
of limited resources, are conscious of the environment and do not hann it and can be re-
used or recycled at the end of their functional life. The Children's Centre and Community
Facility strives to use appropriate technology which is suitable for the Umlazi context and
takes into account the needs ofthe people. The use of sustainable technology includes the
following:
Water saving: Large roofed areas and paved areas provide the potential for rain water
collection. Rain water is stored in underground tanks and can be used for the irrigation of
courtyards and permaculture garden, as well as grey water for the flushing of toilets. To
further reduce reliance on municipal water use, water saving aerated fixtures are used in
all ablutions and low flush toilets are set with a flush cycle time at 6 Lt per minute.
63
COLLECTED WATER USED
FOR IRRIGATION OF COURTYARDS,
GREY WATER ETC...
(Fig 3.5: Diagram illustrating insulated cavity walls used. Source: www.regencyirrigation.com)
Alternative energy: Alternative energy sources include solar water heating, hydro power
from the water flow in the stream and energy harnessing playground equipment.
Generated energy is stored in batteries and used for the running of lights, fans and
equipment with low energy consumption.
(Fig 3.6: Diagram illustrating insulated cavity walls used. Source: www.cnx.org. Plate 3.4: Photographs showing
energy harnessing playground equipment. Source: www.jazmynjoumeys.blogspot.com, www.inhabitots.com)
Energy use is to be reduced through the use of energy saving lighting options. These
include photosensors to automatically adjust the brightness of artificial lighting as
daylight levels shift. Furthermore, all external lighting is to be photosensored to minimise
energy wastage during the day.
3.4.3 Sustainable Landscaping
Sustainable landscaping is defmed as an area of green design concerned with the

planning and designing of outdoor space. Sustainable landscaping is to be considered as
having the same level of important as sustainable building practice and has been
incorporated into the design of this facility in the following ways:
64
Planting: The planting of vegetation has been considered as an effective solar shading
and wind protection device. Trees planted along the South West edge of the site reduce
the SW wind exposure. Trees provide natural shading in courtyard areas. Green roofs
provide natural sound and temperature insulation as well as reducing the heat island
effect. They provide for maximum use of the building by becoming liveable, usable
spaces which convert carbon dioxide into oxygen. Vertical gardens are used as screening
devices particularly useful on the north facade as they naturally cool and filter air
entering the building.
SHAI.:ING Pr.C'JlOfl B\.

TRt.:~S IN CO'JR;YA~DS
GREEN ROOFS ARE LIVEABLE

SPACES REDUONG THE HEAT
ISLAND EFFECT
I VERTICAL GARDENS
USED AS SCREENS
--;J .... . , GREEN ROOFS ARE
. LIVEABLE SPACES
, ' rli
I ·- I. .-
REDU.Q NG THE HEAT
ISLAND EFFECT ·
1r:£Rtu:
. • GAR~NS .
uuo M scaEENs
//
/.,
//41JTREES BUFFER SW
/ STORMY WINDS
(Fig 3.7: Diagram illustrating planting as effective solar shading and wind protection devices. Vertical gardens used as
screens and green roofs provide liveable spaces. Source: Author)
Biodiversity: The biodiversity on site is improved by the rehabilitation of the wetland

area upstream. The stream also allows for the planting of a pennaculture garden along its
fertile edge. The use of indigenous planting which is suited to the region, climate and
orientation is considered so that little maintenance and upkeep is required.
65
(Fig 3.8: Diagram illustrating improvement of biodiversity through wetland revitalisation and pennaculture gardening.
Source: Author)
3.4.4 Social sustainability
Social sustainability refers to architectural design which has the ability to influence the
way social groups interact within the environment. The Children's Centre and
Community Facility strives to create pleasant spaces which encourage interaction and
social activity. This is likely to improve the social health of Umlazi. The provision of
facilities for the entire community, from the very young, to very old, creates a holistic
environment that is welcoming to all.
3.4.5 Economic sustainability
The final component considered within this section is economic sustainability. This refers
to the preservation and enhancement of the economy for future generations. The
Children' s Centre and Community Facility aims to achieve this through the creation of
employment opportunities, entrepreneurship promotion, skills training and better
education. It is anticipated that the provision of this facility will improve the livelihood of
the community by advancing their quality of life and improving their ability to positively
contribute towards economic growth in Umlazi.
66
BIBLIOGRAPHY
Adebayo, A, Musvoto, G. 2010. Integration and Transformation ofPost-Apartheid

South African City Fabric. Viewed 20 March 2011.
www .corp.at/archive/CORP20 10 36.pdf
DE MONCHAUX, S. 1981. Planning with Children in Mind. Australia: NSW

Department of Environment and Planning.
Joubert, 0 (ed). 2009.100 Years+ 100 Buildings. Architecture in a Democratic South

Africa. South Africa: Bell-Roberts Publishing.
KA Economic Development Consulting and AMR Planning & Development

Consultancy. September 2008. Umlazi Local Economic Development Plan, Draft Final
Report. Viewed 22 March 2011. http://www .kznded.gov.za/Portals/0/docs/Publications/
UMLAZI%20LED%20 PLAN.pdf
KPM Consortium. 2009. Umlazi Nodal Regeneration Study. Revised Draft Final Report.
March: 39-50.
SPENCER, C. 2006. Children and their Environments: Learning, Using and Designing
Spaces. Cambridge: University Press.
Walker Smith Architects. 2008. UDFP for KwaMnyandu Node.
WEBSITES
MARTIN, C. (ed). 1998. Feather River Academy. Viewed 01 March 2011

www.designshare.com
GOOGLE. 2010. Viewed 4 March 2010 www.googleearth.com
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THE STUDY OF SENSORY STIMULATION AS AN

ARCHITECTURAL DESIGN TOOL: A Proposed Children's Centre

Signed by me on this 27th day of May 2011.

Derek Van Heerden and the team at East Coast Architects.

CHAPTER I INTRODUCTION ........................................................................................................ 01

CHAPTER3 ARCHITECTURE AND THE SENSES..................................................................... 37

CHAPTER4 CHILDREN AND THEIR ENVIRONMENTS......................................................... 55

CHAPTERS A NEW APPROACH TO THE DESIGN OF CHILDREN' S SPACES.................. 67

CHAPTER 7 REGIONAL RESPONSE TO SENSORY STIMULATION AS A TOOL IN

7.1 ROSEWAY WALDORF SCHOOL, ASSAGAY................................................ 108

7.1 .1 INTRODUCTION........................................................................................... 108

7.2.1 INTRODUCTION........................................................................................... 126

7.3 SHAYAMOYA COMMUNITY CENTRE, KOKSTAD ...................................................................... 141

7.3.1 INTRODUCTION........................................................................................... 141

CHAPTERS ANALYSIS AND DISCUSSION................................................................................. 156

CHAPTER9 CONCLUSION (AND RECOMMENDATIONS).......................................................... 163

APPENDICES 1.................................................................................................................................................. 175

APPENDICES 11................................................................................................................................................ 177

3.0 Floor plan of the Kiasma Museum (www.annakostreva.org)

5.2 Traditional layout of a learning space (Dudek, 2005:41)

5.3 Creative, user-determined layout of a learning space (Dudek, 2005:42)

5.4 Interior sketch of the Ballifield Community Primary School (www.imagineschooldesign.org)

5.5 Plan of the Ballifield Community Primary School (www.imagineschooldesign.org)

6.0 Site plan ofthe Therm Vats (Ryan, 1997: 42)

6.3 Site Plan (Lecuyer, 1998: 48)

6.4 Longitudinal cross-section (Lecuyer, 1998: 48)

6.5 Cross-section (Lecuyer, 1998: 48)

6.7 Ground floor plan ofthe Children's School (www.imagineschooldesign.org)

6.8 Site plan (www.imagineschooldesign.org)

6.10 Elevation of the Olifantsvlei Creche (Joubert, 2009: 163)

7.0 Site section sketch (Author's sketch)

7.1 Classroom layout options (Author's sketch)

7.2 Sketch plan of the play space (Author's sketch)

7.3 Sketch section (Author's sketch)

7.4 Site plan of Seven Fountains School (Kinsler, 2006: 10)

7.5 Elevation sketch (Kinsler, 2006: 10)

7.6 General plan of the school layout (Kinsler, 2006: 10)

7.7 Classroom layout options (Kinsler, 2006: 9)

7.8 Classroom section below (Kinsler, 2006: 9)

7.9 Sketch section diagram (Author's sketch)

7.10 Aerial view of Shayamoya Community Centre (www.googleearth.com)

7.11 Overall layout of site (East Coast Architects, 2011)

7.13 30 model of the workshop building (East Coast Architects, 2011)

7. 16 3D model highlighting colours used (East Coast Architects, 2011)

2.0 Andy Warhol's Campbell's Soup (www.artofcolour.com)

2.1 Rembrandt's Bathsheba at her Bath (www.allartclassic.com)

2.2 Marcus Vitruvius Pollio's Vitruvian Man (www.wikipedia.org)

2.3 The John Hopkins Hospital (Bloomer, Moore, 1977: 16)

2.4 Haviland Penitentiary in Philadelphia (Bloomer, Moore, 1977: 16)

2.5 The National Theatre by Denys Lasdun (www.glasspilgrim.blogspotcom)

2.6 Steel balustrades detail (www.builderbill-diy-help.com)

2.7 Wooden balustrade detail (www.ipmfittings.co.uk)

3.0 Therme Vals interior view (www.poloralphlaurenstore.com)

3.1 Therme Vals interior view (www.poloralphlaurenstore.com)

3.2 Therme Vals exterior view (www.poloralphlaurenstore.com)

3.3 The de Young Museum (www.mccullagh.org)

3.4 The American Folk Art Museum (www.architravel.com)

3.5 Kaisma Museum of Contemporary Art (www.hilarypfeifer.blogspot.com)

3.6 Kaisma Museum of Contemporary Art (www.bombsite.com)

3.7 The Piazza San Marco in Venice (www.travelpod.com)