For example, a person that has lost a loved one to the Holocaust or someone aware of the context in which this structure was built may always associate this structure to that incident and have a deep emotional connection with it. And that highlights the way different people show variation in linking their emotions to their surroundings. The emotion, although typically negative, may differ from person to person. The sudden entry into a large space while walking through a narrow pathway, or the regular intervals of vertical fenestrations and balconies to further interestingly monotonize and have a unified structure that goes so much beyond mere functionality and caters to the real game-changer w.r.t designing a space. You can witness sporadic and unfamiliar spatial dimensions and shapes within the structure. The pathways are deliberately kept relatively narrower than usual to add to the same. The ongoing experience of a visitor is further strengthened by the sudden exposure of ‘awe’ features like triple-height walkways or other features like tin floor installments of dismal faces to portray strong emotions. The negative connotations that all their deaths carry are strongly symbolized in this experience of a museum. The socio-cultural and political belonging of the Jews was a historical and dark one. Some factors that could be altered to achieve the desired perception of space are:įor instance, the Jewish Museum in Berlin by Daniel Libeskind is a notable example in the realms of triggering emotions using spatial perception as the key feature.ĭue to the connected feature of orientation, the wayfinding is affected to give a rather puzzling result. The bare simplicity/level of complexity in which space/series of spaces can be accessed and navigated helps trigger respective desired emotions. Spatial perception has a noticeable contribution in deciding the ‘aura’ and ‘energy’ of a space. In this article, we study how the intuitive perception of a habitable milieu affects its overall experience and how that differs from one person to another. The knack of luring a visitor from one space into the other and making it a non–monotonous and interesting transition is quite a challenge in itself. The same is in the case of architecture (as architecture is a functional form of art). Making it truly unique for each individual to experience art so personal and intimate to oneself that every takeaway from the same piece of art is going to differ substantially. As we witness in different forms of art and crafts, there is always a provision for interpretation for the viewer’s thoughts.
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