Allen Kirrah Experiencing+Architecture+Through+Chemical+Sensory ARCH Summer2011

Experiencing Architecture Through
Chemical Sensory Perception

Written By: Kirrah Allen
Accepted in partial fulfillment of the requirements for the degree of
Master of Architecture
At
The Savannah College of Art and Design
Julie Rogers-Varland, Professor of Architecture, Committee Chair Date
Alexis Gregory, Professor of Architecture, Faculty Advisor Date
Charles Derby, Professor of Neuroscience at GSU, Topic Consultant Date

Dedication
I would like to dedicate this book to my mother, Dorothy
Williams, whom sadly was unable to see the completion of
this book and my final weeks of my schooling. I design with
her in mind, her being my rock, foundation and my main
source of inspiration to go after my dreams with no fear in my
heart as well as a strong will in my soul.
I will also like to dedicate this book to all of my family,
friends and professors who have inspired me to continue with
my work and build on my success, even at times when I
thought it was impossible for me to continue on through the
different obstacles present in my life.

Abstract
This thesis explores the combined application of
the literary work of Lewis Carrolls, Alices Adventures in
Wonderland, and the use of the chemical senses of smell
and taste, translated into an architectural language. The
thesis focus concentrates on the initial chapter, Down the
Rabbit Hole, where chemical senses become apparent and
alter the protagonists, Alice, perception of space. The use
of chemical sensory in the fiction writing provides a balance
between the whimsical and realistic aspects of smell and taste.
This balance will be developed into a physical representation
to be translated into a physical representation to be explored
in New York City; a setting as diverse Wonderland.

Table of Contents
Chapter 1: General Architectural Principles 1
Chapter 2: Regional Analysis and Site Analysis 29
Chapter 3: Program and Quantitative Development 53
Chapter 4: Schematic Site and Building Design 63
Chapter 5: Design Development 83
Chapter 6: Design Defense 105
Bibliography 113
1
General Architectural Principles
Arguable Position 3
Active Research 4
Theoretical Context 8
Concepts 14
Design Strategies 25
Experiencing Architecture Through Chemical Sensory Perception 23

Arguable Position
At first, questioning the use of the five

senses seems to be irrelevant. As taught from
early childhood, the senses are instrumental tools
exercised on a day-to-day basis. However, it is
difficult to individually identify the sense that affects
daily functions, due to the brains subconscious
perception of our interactions. The chemical senses
of smell and taste are two of the most difficult to
understand since the two are dependent on one
another. Often the use of different medias, examine
the influence of the senses to everyday life. Works
such as Lewis Carrolls, Alices Adventures in
Wonderland, allow readers to have more of an
understanding of the senses with the use of the
imagination to increase their perception through the
chemical senses.
Since the chemical senses are utilized daily

to sample our environment for information to
inform us of other relevant information1, both
smell and taste can be used to alter peoples
experience throughout their surrounding
spaces. People are always in need of
a sense of place, even if it is not easily
identifiable.
3
Active Research
Most people are aware of taste once

they come in contact with food. But why is taste
so important? Taste creates our appetites and
protects us from poisons. Taste is apparent in the
five basic groups of salty, sour, sweet, bitter and
umami. Bitter tastes cause adversity because most
poisons are bitter, and most bitter foods are bad for
you when consumed in excessive amounts; such
as medicines; they are bitter and can harm you if
there is an overdose.2 When food is placed within
the mouth, one or more tastes are present and
alerts us of vital information; if it has a salty taste
there are sodium chloride (common salt) which is
needed in your diet, if it has a sweet taste it could be
the nutrients that are needed to keep you running
for a few hours, if there is a sour taste the food may
not be ripe and cause a stomach ache, and if it is
umami it is meaty, and savory and proves amino
acids. Umami is the latest taste that has been
adapted to the West but has been known to the
Japanese for many years.
If you stick your tongue out, you will notices
that there are various amounts of red dots along the
tongues surface. These dots are not taste buds; but
are four different categories of taste papillaes. The
categories of papillae includes the fungiform, foliate,
circumvallates and the non-gustatory filiform. Within Fig. 1.1

these different papillae are the taste buds are located.
The fungiform papillae make up the anterior part of the tongue and
generally contain one to several taste buds per papilla. These appear as
red spots on the tongue because they are supplied with large amounts
of blood vessels. The average number of fungiform papillae per human
tongue is roughly 200, with about 1120 fungiform taste buds per tongue.
The foliate papillae are located on the edge of the tongue slightly under the
circumvallates line. These papillae are sensitive to sour tastes. On average
there are 5.4 papillae per tongue, 117 taste buds per foliate papillae, and a
total of 1280 foliate taste buds per tongue. The circumvallate papillae are
sunken with a trough separating them from the surrounding walls. The taste
buds are in tiers within each trough, situated along the circumvallate line
and also have a sour and bitter sensitivity of two-thirds of the tongue. There
are anywhere from three to thirteen circumvallate papillae per tongue with
252 taste buds per papillae. In total there are 220 circumvallates taste buds
per tongue. The filiform papillae are mechanical. There are a total of 2500
taste buds on the epiglottis, soft palate, laryngeal and oral pharynx. The
number of taste buds of each papillae decreases with the increase of age.3
When a substance enters your mouth, the chemicals are dissolved
by saliva that allows the food molecules enter the taste bud through papillae
pores. If molecules bind to the tip of a receptor cell, this excites cell into
issuing a series of chemical signals that are fired directly into the brain.
Smell is used to increases the enjoyment of food, since what is commonly
referred as flavor is the combination of smell and taste, with taste most
often assuming a secondary position.4
The nose consist of two different paths, one that samples air from the
outside world and the other that samples air from within the mouth. The
5
location of smell, whether it is inside or outside, determines how we perceive
odors. Perceptions of food, relies heavily on air sampled from the mouth. If
you were to pinch your nostrils shut and eat a food substance, the flavor will
disappear, and have a bland texture. Smell contributes to the enjoyment of
food. While it may take awhile to prepare a dish, people are in anticipation,
savor and linger over the aroma that food gives off; which is why spices
are added to food, to increase how the food appeals to the nose.5 Spice
is defined as any dried fragrant, aromatic, or pungent vegetable or plant
substance, in the whole, broken, or ground form , that contributes to flavor,
whose primary function in food is seasoning rather than nutrition, and
that may contribute relish or piquancy to foods or beverages. Seasoning
food is an universal habit that human have adapted to, however, it differs
significantly among different regions. Even though there are a number
of different spices used in different cultures, food expert Elisabeth Rozin,
has discovered that there are flavor principles, that each culture could
summarized with the use of two or three key flavorings. Every culture tends
to combine a small number of flavoring ingredients so frequently and so
consistently that they become definitive of that particular cuisine.6
It has been difficult for scientists to classify the specific number of
smells. The number of odors that have been used among scientists is
10,000; however, there has been no real attempt to count the number of
smells in the world, just estimates of odor diversity. The need to identify the
number of odors becomes important because it affects the sensory input of
the brain and the psychologists phenomenon of perception.7 Smell exists
within our heads; however, the perception of smell relies on the molecule
that exists within the air. Molecules have to be light enough to evaporate
and carried in to the nose by air. Sensory cells in the nose, converts the

molecules or chemical signals into an electrical signal that is nerve impulse
that travels up to the olfactory nerves for the brain interpretation.8
For the brain to have a reaction to the air molecules, one must sniff air.
Sniffing air is dependent upon smell; if there is a strong odor, a shorter and
fewer sniffs are needed, but if there is a weaker odor, longer and more sniffs
are needed. Sniff patterns are individual and have characteristic patterns
that change from each person. It seems that the more a person sniffs,
the better they are able to detect a smell; however, a single natural sniff
provides as much information about the presence and intensity of an odour
as do seven or more sniffs.9
7
Theoretical Context
This thesis will use an exploration of Carrolls, Alices Adventures in

Wonderland and concentrates on the introductory chapter Down the Rabbit
Hole. In this chapter, readers establish a sense of place within the rabbit
hole; however, it is not until Alices use of the chemical senses that allows
readers the ability to understand how the chemical senses were used in
relation to the surroundings.
In the fictions initial page, the protagonist, Alice, is lying alongside her
sister on the Riverbank, and complains of being hot which eventually leads
her to feel sleepy and stupid. Shortly following this drowsy feeling, Alice
quickly sets forth and follows a talking rabbit hurrying along the riverside. It
appears that Alice may not be consciously aware of her actions, almost as
if she were dreaming, however, she is actually awake and mindful of her
actions since
Consciousness is firmly tied to emotional drive and

goal- directed behavior. We are interested not just in
whether a Wakeful state or self-awareness is present
(typical definitions of consciousness), but in whether a
creature is capable of purposeful action. 10
Once Alice chases the rabbit through the meadow, she is able to show
an awareness of her actions, seeing that she was able to perform the goal-
directed behavior of pursuing the rabbit down the rabbit hole.
Alices state of consciousness, becomes an important factor because
once she is within the rabbit hole, the use of the chemical senses begins
to help Alice relate to her space. After landing from an extensive fall, Alice
begins to wander about the holes narrow corridor. It did not take long for a
miniature door to be discovered off the holes narrow passage. Upon closer
examination, Alice discovered that a key was needed in order for her to

gain access to the garden that enticed her through
the opening of the keyhole. While searching for
the doors key, Alice came across a bottle labeled
DRINK ME. Upon the first appearance of the bottle
Alice has a moment of hesitance. However, the
moment was short lived since the bottle was not
label as poison, Alice ventured and taste the mixture
and found it to taste rather good. The drink consists
of a mixture of different flavor that included cherry-
tart, custard, pineapple, roast turkey, toffee, and hot
Fig. 1.2
buttered toast; with the combination of enjoyable
taste, Alice quickly finished the drink.11
As Alice consumes the beverage, the
chemical senses begin to come to life. Alice
delayed consuming the drinks contents. The
consumption of food relies on both taste and smell;
the two are interrelated because the nose has two
jobs: to sample air from the outside world, and
to sample air from the mouth.12 The resistance
shown on Alices behalf is understandable since
half of the enjoyment of the taste experience was
missing.
Overcoming her initial hesitation, Alice found
that the drink consisted of various safe signals
which enabled her to tap into her recognition
memory.
9
Recognition memory is the
ability to assert the familiarity of
things previously encountered.
In the case of food, when an
animal encounters a new taste,
it hesitates to eat it, showing
a reduced consumptiona
neophobic response. However,
when the new taste has no
negative consequences, it
becomes recognized as a safe
signal, leading to an increase in its
consumption.13
With the comfort of safe signals, Alice
conveys a feeling of security; the same as if she
was being embraced or protected, as she began to
shrink in size as a result of the drink. There appears
to be a direct association with Alices new size and
the tea. Alices miniature size reflected the amount
of flavors that were constricted into the realm of a
glass bottle. The bottles confined shape allowed
the ingredients to become infused together. With
her new size, Alice was able to comfortably explore
the rabbit hole and the door to the garden, at her
leisure. Acquiring this new size is the result of the
enjoyment and succumbing to the drinks taste. This
pleasant reaction allowed Alice to access to spaces
that wouldnt normally be able to be explored. The Fig. 1.3
access to a smaller scale, allowed Alice to grow
comfortable within the rabbit hole, and allowed her

10
perception of space to change because of the new
interaction between her and space.
With Alices new perception of space, she
becomes aware that she is able to access the small
door that leads out to the garden. While heading
towards the door, Alice realized that she forgot the
key on top of the now over sized table. This is where
the chemical senses come back into action. While
trying to come up with a plan of action to retrieve
the doors key, Alice came across a glass box lying
underneath the table and opened it. Inside the box
was a very small cake, on which the words EAT
ME were beautifully marked in currants.14 After
experiencing the effect of the beverage, Alice quickly
decided that she would eat the cake since she
thought that if the cake made her grow larger, she
would be able to reach the key; but if it made her
grow smaller, she would be able to crawl under the
door. Either way, Alice felt that she was certain that
Fig. 1.4
eating the cake would ultimately allow her to access
into the garden.15 Alices sense of judgment was
understandable due to new the effect of the drink,
however, the control in her size that she thought she
possed, proved not to work in Alices favor.
In her haste to consume the small cake, the
chemical senses were disabled; Alice did not allow
an acceptable amount of time for her tongue the
11
opportunity to enjoy the different flavors and elements of the cake.
Taste exhibits almost complete adaptation to a

stimulus - perception of a substance fades to almost
nothing in seconds. Taste can be suppressed by local
anaesthetics applied to the tongue.16
Alice did not allow an adequate amount of time for her tongue or nose
to sample the flavor of the cake. Not allowing the cake a chance to linger
on her tongue, resulted in Alices extreme growth, which now made her
environment uncomfortable as well as hindered her progression through the
door to the garden.
In this portion of the chapter Carroll proves to be one of the writers

that managed to create a work of art in which we recognize the olfactory
experience, that invest smell with meaning. These writers are able to turn
an odor into a symbol or use odor to change perception into an atmosphere
of a time and place.17
In Carrolls case, the lack of smell was utilized symbolically to
represent the atmosphere of the rabbit hole. With the dismissed notion of
slowly chewing the cakes content, the nose was unable to sample air from
her mouth to identify the flavors within the cake. This simple task leads
to Alices excessive growth, mainly due to her inability to allow a decent
amount of time to enjoy the cakes flavor while in her mouth.
Carroll is able to continue to write as an olfactively minded artist
with the use of the psychological traits of awareness, empathy, and
imagination.18 Once there is a mention of the cakes size, there appears
to be a motion where Alices awareness should be forewarned. The size
of the bottle and cake are not of the same size or scale; the drinking bottle
was sized to fit comfortably within her hands while the cake was not large

12
enough to fit within her palm, since it was a very small cake. These visual
elements should have triggered a warning within Alices brain. The use of
the bottle and cake at different scales conveys the notion that these items
were used to compress and expand the ingredients in both food and drinks;
the cake compressed the ingredients while the bottle exaggerated the
drinks ingredients. Once Alice came in contact with the food and drink,
there was a reverse reaction to the human scale; the drink caused her to
shrink while the cake caused her to expand, and delayed her return to her
original size.
Seeing how the cake seemed to be in compression, this notion is
related to the how the sense of smell is a delayed process compared to the
other senses.
It may be significant that olfactory neurons are

unmyelinated, making olfaction the slowest of all the
senses. It not only takes the brain longer to perceive
olfactory stimuli; the sensation of an odor also persists
for greater lengths of time than do sensations of vision
or audition (1996). The fact that olfactory receptors
are the only sensory receptors directly exposed to the
environment may also help explain the relationship
between olfaction and memory.19
Since Alice was determined to finish the cake in a hurry, she did
not allow her chemical senses a chance to conjure any memories of
significance, as she did with the tea. Alices extreme growth could have
been caused by the brains delay in perceiving smell stimulus; her increased
size may have been the result of the brain feeling as if it was being
overloaded by the smell stimuli that were unable to be identified, which
caused the senses to become overwhelmed and dysfunctional.
13
Concept: Separation of Above & Below
Fig. 1.5
The chapter titled, Down the Rabbit Hole represents the gap
between the reality and the senses, as well as the separation of above and
below surfaces; both of these concepts relate to the separation between the
observed and the unseen. A rabbit hole is an opening through a grounds
surface; digging below the surface is an action that is performed out of
curiosity because there is no certainty of what will be found. A sense of
curiosity and mystery comes to life when Alice arrives at the holes opening;
the factor that pushed her to journey down the opening was the talking
rabbit. Following her curiosity, Alices consciousness was restored with
the appearance of smell and taste when she consumed the beverage and
cake. After devouring the beverage, Alice became relaxed; however, once
the cake was eaten she was uneasy and anxious.
Following the frustrated realization that the doors key was out of

14
her reach, Alice desperately wanted to grow back to her original size to
retrieve the key that laid on top of the table. Once the cake came into
view, the feeling of anxiety caused Alice to quickly consume its contents,
which ultimately led to her massive growth. Because Alice did not eat the
cake in the same manner as she drank the beverage, an underlying use
of symbolism was enforced. The symbolic representation of eating in this
manner, showed that the senses should be experienced at a decent pace
that allows one to enjoy an experience; tampering with this experience
makes the overall outcome abnormal and unsatisfying, causing a great deal
of discomfort.
Not only is the rabbit hole used as a separation of spaces, but the
miniature door is also used to show the significance of the movements
through different openings. According to the studies of Gustav Fechner, a
psycho physicist there are:
... Three threshold methods (i.e., the method of limits,

the method of adjustment, and the method of constant
stimuli). Thresholds present some technical difficulties,
but they are conceptually easy to understand: The
absolute threshold for a stimulus is the smallest
amount of the stimulus that can be detected, while the
difference threshold is the smallest increment from one
amount of stimulus to a higher amount that can be
detected (i.e., the just noticeable difference 20
These methods of are explored in Carrolls writing. The first threshold
of limits is illustrated with the use of the rabbit hole. A rabbit hole is usually
associated as being a shallow opening in a solid mass; however, Carroll
adds more dimension to the space. Instead of using a shallow opening,
Carroll creates an extension to the holes perimeters that causes Alice
to feel as if she was in a different realm. Even with the holes additional
15
depth, Alice was still constricted within the holes perimeter with no visible
access to an exit leading her back to her sister along the riverbank. Once
the emergence of an exit came into view, Alices desire to escape the dark
enclosure heightens; however, the feeling is short lived once she noticed
the size of the exit. The second threshold methods of adjustment starts
become noticeable. Heartbroken with the comprehension that she would
not be able to fit through the door, Alices curiosity prompts her to indulge in
the chemical senses in the drink, and later the cake.
The methods of thresholds begin to be used inconsistently as the
story progresses. By drinking the bottles contents, the threshold of constant
stimuli was activated. The constant stimuli relates between taste and brain
activity; because parts of the brain increases its activity (i.e., receive greater
blood flow) in response to taste stimuli. The taste stimuli and the brain are
connected by taste signals that have a fast track to the brains conscious of
taste centers.21
Alices enhanced brain activity due to taste, is displayed as she begins
to shrink in response to activating her taste stimulus. The methods of
threshold are now in reverse once Alice tries to become the appropriate size
to capture the doors key.
The threshold of methods begins once again, with the consumption of
the cake; however, Alice is not able to gain access through the door until the
seventh chapter.
Once more she found herself in the long hall, and

close to the little glass table. Now, Ill manage better
this time, she said to herself, and began by taking the
little golden key, and unlocking the door that led into
the garden. Then she went to work nibbling at the
mushroom (she had kept a piece of it in her pocked)

16
till she was about a foot high:
then she walked down the little
passage: and THEN--she found
herself at last in the beautiful
garden, among the bright flower-
beds and the cool fountains.22
During the time that elapsed between the
first and seventh chapters, Alice became aware of
the reactions that food and drink had on her taste
stimulus, which resulted in the control over her size
and thresholds through the use of taste.
The use of thresholds is not only apparent
in Alices Adventures in Wonderland, but is used
frequently in architecture. Similar to what is
seen in Carrolls writing, the use of thresholds in

Fig. 1.6
architecture varies. I.M. Peis Miho Museum located
in Shingaraki in Konan Alps, is a structure that best
represents the concept of the gap between the
separation of spaces that are seen and unseen.
Sections of Peis design are concealed under the
Konan Alps; there is a visual barrier between the
open and closed spaces. Like the talking rabbit in
Alices Adventures in Wonderland, Pei uses a bridge,
cable wirings, and lighting to give into visitors
curiosity and to venture into the tunnel. The bodys
curiosity to experience spaces as it crosses different
atmospheres is called body schema, a concept
created by physiologist Maurice Merleau-Ponty.

A body schema that gives
17
rise to sens must be conceived
as arising within movement that
crosses body and world. This is
a subtle but perhaps vast shift in
conception: the relevant schema is
not, as some would suggest, to be
located in an already constituted
physiological or cognitive system
of the body, which then serves
as a standard for organizing and
making sense of perception. The
Fig. 1.6
schema comes from movement
and belongs to movement; it is
dynamic through and through.
More, this sort of schema is based
in habit, and is thus inherently
developmental and labile; and this
sort of schema crosses over into
the places in which we form habits,
the places we inhabit.23
The concept of body schema, gives the Fig. 1.7
opportunity to experience spaces on an individual
level due the result of personal satisfaction. The
bridge that leads to the tunnel is a factor that is
used to draw a visitor to the tunnel; however, the
speed at which one descends down the bridge
into the tunnel is based on an individual level and
the ability to adapt to new spaces. Once visitors
gain the courage to go through the tunnel, they
have a sense of relief when they make their way to
the glass atrium on the mountain top. Visitors are Fig. 1.8
transported from a dark and closed spaces to light

18
and airy spaces; the movement from dark to light enables the mood and
perception of space to change. If movement was to act as an emotionally
driven behavior, then body schema is the different positions of the body
as it experiences and encounters new spaces inhabited. Alice showed a
change in perception through the emotional interaction between her space
at different scales; at a miniature size, Alice was intimidated and frightened
by the rabbit hole but as a giant she was annoyed by and uncomfortable in
the hole.
19
Concept: Chemical Senses & Architecture
Architecture, more fully than other

art forms, engages the immediacy
of our sensory perceptions Only
architecture can simultaneously
awaken all the sensesall the
complexities of perception.24
The combination of the senses and

architecture is nothing new to architecture. When
fusing the senses, taste is the most difficult to
be incorporated in the goal to alter perception; Fig. 1.9
however, it can be achieved. Zaha Hadids R. Lopez
de Heredia Wine Pavilion in Haro, Spain, proves
that taste can be used to influence the change of
perception.
Combining a newly developed pavilion to
surround an existing pavilion initially was a difficult
task; designing a structure that needed to blend in
with its surroundings of older buildings; however, Fig. 1.10
Hadid accomplished this with grace. The program
that consisted of a visitor centre pavilion and a cellar
tasting room appears to be the driving force of the
design. This was not done intentionally seeing that
the new pavilion would be just one layer in a larger
composition. This design proceeds to have a shape
that resembled the analogy of an onion, developed Fig. 1.11
from various studies which led to a container
developed in sectional cuts.25
An onion is not the only food quality that this

20
pavilion resembles; it also favors a taste bud. The
taste bud anatomy is very similar to the shape of the
structure. Taste buds are located in between the
epithelial cells with the narrow opening that is the
taste pore that grows in size in the areas where the
receptor cells and synapses are located. Hadids
wine pavilion structural shape mimics the shape of
a taste bud, with the narrow covering underneath
the cantilever, and wide base. Even if this Hadid did
not keep taste in mind when designing, her work
causes visitors to get a sense of sensation with the
structures shape as well as the use of reflective
materials in the tight but open space.
Sensing smell in architecture has more of a
presence in architecture than taste does. Smell
is usually evident within a space; each building
has its own unique odor in the same manner that
smells differ among individuals. Buildings have
different smell sources that come together to form
a rooms aroma; this ranges from the same of the
different materials used to the mixture of air and the

Fig. 1.12
occupants of the structure. These smell mixtures
are some of the qualities that people remember
most about a space.
Haegue Yangs exhibit, Voice and Wind,
assigns the use of smell to its advantage. The
exhibit is made up of a series of different colored
21
blinds that form dividers within the open space.
These dividers are used as walls to create a physical
boundary between the spaces. When an occupant
arrives in the different rooms a different scent is
sprayed into the air and is visible with the movement
of the blinds; these smells range from dirt to laundry.
Once a scent spreads throughout the space, there

Fig. 1.13
are a series of large vent fans that are activated to
clear the space of the aroma. The purpose of the
exhibition is to allow smell to guide a person through
a space. Additionally, the blinds are able to establish
the difference between indoor and outdoor spaces,
in the same manner that are used within window
coverings of a home.
Smell and taste are called the chemical

senses because both senses relay on the use of
different chemicals to stimulate the receptors. The
stimulation experienced through the receptors are
factors that influence the way we perceive different
chemicals activated with the compounds and
molecules in the air inhaled with the nose (smell),
and the chemicals trigger by the tongue (taste).
Even with the translation of taste and flavor, the
translation of taste and flavor are used one word.
Taste and flavor are interchangeably in the casual
conversation; which makes it easier to forget that

22
they are not the same. Flavor is actually the fusion
of taste and smell that is apparent simplicity of flavor
is a mere illusion, which is sometimes reinforced by
language
Without the use of smell, food would consist
of a bland texture since the tongue is only able to
supply the five qualities of bitter, sweet, sour, salty,
and umami; smell contributes to the enjoyment of
food.
Smell is used as an attraction between people
and food. As with everything else in life, a persons
smell pleasantries vary; this is because
Smell is hard wired into the

Fig. 1.14
human nose and brain. Molecules
of odorant move up through the
two nasal cavities until they come
to the olfactory epithelium Odor
molecules fit receptors the same
way that keys fit locks. When an
odoriferous molecule binds to
its perfectly matched receptor, a
nerve impulse begins.27
It is a common myth that expresses that
individuals that are lacking other senses (excluding
the chemical senses) have a better sense of smell
and taste than those who have all five senses. This
Fig. 1.15
is a false implication because there have been
studies that have compared the smell perception in
the blind and the sighted. The result of these studies
23
concluded that there was no difference between the olfaction levels between
the blind and the sighted; both groups detected odor at about the same
concentration.28
With the variation between people, there are also various odor keys as
discussed by Faith Hickman Brynie; however, without taste the key needed
to open flavors door will not unlock. Smell and taste are inextricably linked
to flavor perception; the experience of one modality can affect the other.
This bond causes a cross-sensory link between taste and smell can work
in both directions; smells can alter taste. These senses that are often seen
as important provide a vast amount of information to work with the adjuster
hole, in order for people perceive spaces. From the use of the olfactory bulb
and the seven smelling prisms of to camphor, musk, floral, minty, pungent,
putrid, and ether in combination with the tongue map and the structure of
the taste buds; a successful design can come about since architecture is
able to stimulate all of the senses.

24
Design Strategy
Every touching experience of architecture is multi-

sensory; qualities of matter, space, and scale are
measure equally by the eye, ear, nose, skin, tongue,
skeleton and muscle. Architecture involves seven
realms of sensory experience which interact and infuse
each other.30
The objective of this thesis is to create an educational facility that is
designed and spatial layout is inspired by the chemical senses of smell and
taste. The primary goal of this thesis educational facility development is to
allow a space where the general public have access to interact and learn
the importance of their daily usage of smell and taste at different stages, and
how both of the chemical senses have the ability to alter a persons mood
and sense of place through the use and understanding of the latest scientific
research.
25
Work Cited
1
Tim Jacob, Smell (Olfaction): A Tutorial on the Sense of Smell, http://www.cf.ac.uk/biosi/
staffinfo/jacob/teaching/sensory/olfact1.html. 25 October 2010.
2
Tim Jacob, Taste (Gustation): A Tutorial on the Sense of Taste, http://www.cf.ac.uk/biosi/
staffinfo/jacob/teaching/sensory/taste.html. 25 October 2010.
3
Tim Jacob, Taste (Gustation): A Tutorial on the Sense of Taste, http://www.cf.ac.uk/biosi/
4
Michael Berry, The Physiology of Taste, http://www.sff.net/people/mberry/taste.htm. 6
November 2010.
5
Avery Gilbert, What the Nose Knows: The Science of Scent in Everyday Life, New York:
Crown Publishers, 2008, 92-94.
6
Crown Publishers, 2008, 97.
7
8
9
10
Richard E. Cytowic, The Man Who Tasted Shapes (Cambridge: The MIT Press, 1998),
194.
11
Lewis Carroll, Chapter 1- Down the Rabbit-Hole, http://www.literature.org/authors/carroll-
lewis/alices-adventures-in-wonderland/chapter-01.html. 30 October 2010.
Understanding the Senses, DVD, directed by Discovery Channel Production (Princeton,

12
NJ: Films for the Humanities & Sciences, 2003).
13
Federico Bermadez-Rattonit, Luis Nez- Jaramillo and Israela Balderas,
Neurobiology of Taste- recognition Memory Formation, Chemical Senses 156-157, 30
(suppl 1) (2005), http://chemse.oxfordjournals.org/content/30/suppl_1/i156.full. 15 November
2010.
14
15
16
Tim Jacob, Taste (Gustation): A Tutorial on the Sense of Taste http://www.cf.ac.uk/biosi/
17

26
Avery Gilbert, What the Nose Knows: The Science of Scent in Everyday Life (New York:
18
Crown Publishers, 2008), 128.
Olfaction and Memory, http://www.macalester.edu/psychology/whathap/ubnrp/smell/

19
memory.html. 10 November 2010.
20
Linda M. Batoshuk and Derek J. Snyder, Psychophysical Measurement of Human Taste
Experience, in Handbook of Behavioral Neurobiology: Neurobiology of Food and Fluid
Intake; V. 14; 2nd Ed., ed. Edward Stricker and Stephen C. Woods (New York: Kluwer
Academic/Plenum Publishers, 2004), 90.
Faith Hickman Brynie, Brain Sense: the Science of the Senses and How We Process the
21
World Around Us, (New York, NY: AMACOM, 2010), 91.
22
Lewis Carroll, Chapter 7- A Mad-Tea Party, http://www.literature.org/authors/carroll-lewis/
alices-adventures-in-wonderland/chapter-07.html. 15 November 2010.
23
David Morris, Sense of Space, (Albany: State University of New York Press, 2004), 33.
24
Steven Holl, Juhani Pallasmaa and Alberto Perez-Gomez, Questions of Perception:
Phenomenology of Architecture (San Francisco: William Stout Publishers, 2006), 41.
25
Zaha Hadid Architects, R. Lopez de Heredia Wine Pavilion, http://www.zaha-hadid.com/
built-works/r-lopez-de-heredia-wine-pavilion. 3 November 2010.
26
Faith Hickman Brynie, Brain Sense: the Science of the Senses and How We Process the
27
World Around Us, (New York, NY: AMACOM, 2010), 39.
28
29
30
Steven Holl, Juhani Pallasmaa, and Alberto Perez- Gomez, Questions of Perception:
Phenomenology of Architecture, San Francisco: William Stout Publishers, 2006, 30.
Photo References
Fig. 1.1: Tim Jacob, Taste (Gustation): A Tutorial on the Sense of Taste, http://www.cf.ac.
uk/biosi/staffinfo/jacob/teaching/sensory/taste.html. 25 October 2010.
Fig. 1.2-1.3: Lewis Carroll, Chapter 1- Down the Rabbit-Hole, http://www.literature.org/

authors/carroll-lewis/alices-adventures-in-wonderland/chapter-01.html. 30 October 2010.
Fig. 1.4: Michael May, Alices Adventures in Wonderland (and Through the Looking Glass),
http://michaelmay.us/blog/category/alice-in-wonderland/. 26 October 2010.
Fig. 1.5: Jesus Diaz, Alice in Wonderland doesnt need 3D, http://gizmodo.com/5486765/
review-alice-in-wonderland-3d-doesnt-need-the-3d. 26 October 2010.
27
Fig. 1.-6 1.8: All of the Above: Ideas, Observations & All the Appeals, http://alloftheabove.
posterous.com/?tag=architecture. 10 November 2010.
Fig. 1.9- 1.10: Tondonia Winery Pavilion by Zaha Hadid in La Rioja, Spain, Architecture
Design, http://www.arnewde.com/architecture-design/tondonia-winery-pavillion-by-zaha-
hadid-in-la-rioja-spain/. 3 November 2010.
Fig. 1.11: Taste and Smell, http://www.answers.com/topic/taste-and-smell. 20 October

2010,
Fig. 1.12: Maria Lorena Lehman, Architectural Building for All the Senses: Brings Space
to Life, http://sensingarchitecture.com/585/architectural-building-for-all-the-senses/. 27
October 2010.
Fig. 1.13: Haegue Yang, An Artificial Outdoors with Arbitrary Boundaries, http://arttattler.
com/archivehaegueyang.html. 30 October 2010.
Fig. 1.14: Mead Tasting and Evaluation, http://www.meadmadecomplicated.org/mead_

tasting/tasting.html. 20 October 2010.
Fig. 1.15: Smell and Taste Disorders, http://www.wm-article.com/healthland/ear-nose-

throat/SmellandTasteDisorders.asp. 21 October 2010.

28
29
Regional and Site Analysis
Regional Description 31
Site 33
Site Layers 34
Zoning 38
Transportation 40
Soil Type 44
Wind Distribution 49
Sun Angles 50

30
Regional Description
According to the Kppen climate classification,
New York City has a humid subtropical climate. This
region is the climate zone characterized by hot,
humid summers and cool winters. This climate type
covers a broad category of climates that lies along
the southeast side of all continents between latitudes

Fig. 2.1
25 and 40 North and South.
Kppen defines this climate region to have
the coldest months mean temperature to be
between 3 C (26.6 F), and 18 C (64.4 F). The
warmest month are above 22 C (71.6 F); along with
either a dry winter- with less than one tenth of the
precipitation of the wettest summer month- with or
without dry season.
Significant amounts of precipitation occur in all
seasons in most areas, though in regions bordering
on semi-arid climates (usually at the western
margins), irregular droughts can be common and
catastrophic to agriculture. Winter rainfall (and
sometimes snowfall) is associated with large storms

Fig. 2.2
that the westerlies steer from west to east. Most
summer rainfall occurs during thunderstorms and an
occasional tropical storm, hurricane or cyclone. This
region is moist in the summer, can be very cold in
winters.1
31
Building to Code:
In accordance with the Energy Conservation
Construction Code of New York State and the ICC,
structures for New York City should be built to Code
that consist of: 2
Winter Dry Bulb Temperature- 13
Summer Dry Bulb Temperature- 89
Coincident Wet Bulb Temperature- 73
Heating Degree Days- 4910
Climate Zone for Commercial 10B
Fig. 2.3
Climate:
New York has a humid continental climate,
with cold winters and hot, moist summers. The
citys coastal location ensures that winters are not
as cold as inland cities on the same latitude, and
daytime temperatures generally stay above freezing
point. Snow is common in winter, but the amount
varies, and winter rain is common. Spring in New
York is pleasantly warm, and the weather heats up
to temperatures of around 80 F to 90 F (25-30 C)
by mid-May. Summers are generally swelteringly Fig. 2.4
hot and humid. The best time to travel to New York
is in autumn, when temperatures are mild, days are
sunny and humidity not too high.3

32
Site
The Site is a vacant lot that is located along
the First Avenue between East 35th and East 36th
Street. This lot is located within Community District
6; a district that covers East 59th Street to East 14th
Street between Lexington Avenue and East River
Drive. Within the district, there are many New York
City iconic elements which includes the United
Nations, 59th, 42nd, 34th, and 14th Streets. One of the
major qualities of the site is that St. Vartans Park
sits directly in fronts of the site, as well as exit 9 from
East River Drive that is located behind the side.
Fig. 2.5
These qualities will be used to benefit the site.
33
Site Layers
District Streets
Primary Streets
Secondary Streets
Triarchy Streets
Highway
Following the natural grid of Manhattans
design, the majority of the primary streets run
horizontally, while the secondary streets run
vertically. The combination of primary and
secondary street creates a barrier that encloses
the site between First Avenue, FDR Drive, East
36th and East 35th Streets.
District Schools
Day cares
Elementary
Middle School
High Schools
K-12
Colleges
With the primary goal of creating an
educational facility, there is a need for there
to be a great deal of schools that are in the
relative area. This site in between different
stages of the educational learning. Learning is
the key element that is the driving point of the
design and application of this thesis.

34
Above Transportation
Primary Bus Avenues
Primary Bus Streets
Highway
In this community district, there is a clear
hierarchy in the transportation system. The site
has a clear boundary that is closed of by East
River Drive and First Avenue, which both serves
as primary horizontal access to the street for
public transportation. The closest streets that
are vertical and serves as a primary street is
34th Street.
Below Transportation
L Train
M, E Train
6 Train
Mid-Town
Tunnel
In this community district, there are few
points that people can access underground
transportation. The main source comes from
the Midtown Tunnel, that connects Manhattan
and Long Island, and the other being the 6
Subway Line that runs along Lexington Avenue.
There are other Subway access point that are
along 53rd (M, E Train) Street and 14th Street (L
Train).
35
Drawing Into Site
- 34th Street
-St. Vartans Park
- Exit 9 of FDR Drive
- 34th Street Sea Plane Air Base
Since the site is located near 34th Street, an
opportunity to draw people into the site as
an attraction was utilized. The main sources
of attraction other than the proximate to 34th
Street, are the exit off of FDR and the St.
Vartans Park that boarders the site. Another
point of attraction is the 34th Street Sea Plane
Air Base that is locate at the end of 34th Street.
Accessing Site
Public Transportation:
- M34 Bus
- M15 Bus
Bike Path
With having the close proximity to 34th Street
and the surrounding attractions, there is a great
deal of access that people have to the site
without the use of a car. Visitors could either
ride along a bike path that runs along FDR and
36th Street, or ride of the either the M34 or M15
bus that have stops that are less than 3 blocks
away for the site.

36
Sites Smell
Wind Direction
Smell from East River
Meeting Points of Smells
Smells Released
Smells Released
With the Site being so close to East River and
the additional combination of the prevailing
winds, the smell of the city are meshed
together onto the site. Because the site
services as a meeting point of smells released
from the East River as well as the gas and
garbage smells that radiates throughout the
city.
Site Traffic
Fast
Mid Speed
Mild
Slow
Neutral
One of the factors that lends itself to the smell
of the city, is the speed of traffic. The speed
of traffic the surrounds the site that serves as
a source of additional wind that causes the
movement the gaseous smells that makes up
the odor qualities of New York City.
37
Zoning
Fig. 2.6

38
Zoning C4-6 4
C4 districts are major commercial centers located outside of the
central business districts. They allow department stores, theaters and other
commercial uses that serve a larger area. They are not mapped as an
overlay. C4 districts are not permitted to include home maintenance and
repair services (Use Group 7) which would interrupt the desired continuous
retail frontage. C4 districts are usually found in regional centers like Rego
Park or Fordham Road.
There are a number of contextual C4 districts in which shorter, higher
coverage buildings are encouraged. The commercial and residential
bulk and density regulations in these districts differ somewhat from
corresponding non- contextual districts. (See Table 7B in Appendix E.)
Parking requirements vary with district and use but high density
C4-5 to C4-7 districts are usually exempt from parking requirements for
commercial uses.
Shopping centers and offices in densely built areas:
C4-6 Commercial FAR: 3.4
Residential FAR: 10.0
(to 12.0 with bonus)
(R10 equivalent)
39
Above Transportation
East River Drive 5
Manhattans East River Drive in Manhattan is
representative of the type of river-side construction
that may be desirable for other large cities. Its cost
was approximately $2,000,000 per mile.

Fig. 2.7
FDR Drive, was originally named East River
Drive. The highway designer, Robert Moses, faced
the difficulties of building a parkway and boulevard
combination along the East River while minimizing
the disruptions to the residents. The original
construction consisted from the section from 125th
Street to 92nd Street that was completed from the
1934 construction; while sections from 92nd Street
down to Battery Park, excluding the section from
42nd to 49th Streets, were built as a boulevard,
and arterial highway running at street level. Future
reconstruction designs from 1948 to 1966 converted
FDR Drive into the full parkway that is used today.
The highway section from 23rd Street to Fig. 2.8
34th Street was built on top of the wartime rubble
delivered from British cargo ships returning from
Bristol, England, after the German Luftwaffe bombed
Bristol heavily during World War II.

40
M15 6
The Second Avenue Line (M15 Bus) is a rapid transit
line in Manhattan, that runs mostly along Second
Avenue (and northbound on First Avenue since
1951) from Lower Manhattan to East Harlem. This
route was originally a streetcar line, but is now the

Fig. 2.9
southbound direction of the M15 bus route, and
serves as the only bus route along First and Second
Avenues. This is the second-busiest bus route in
the U.S. with an annual ridership just short of $16.5
million
41
Below Transportation
Queens-Midtown Tunnel 7
The Queens- Midtown Tunnel opened to traffic
on November 15, 1940, and was the largest non-
federal works project in the nation at the time.
The tunnels ground breaking occurred on

Fig. 2.10
October 2, 1936, which featured the ceremonial
push of a button by President Franklin Delano
Roosevelt.
After 54 million hours of labor that included
dynamiting and drilling through more than 12,500
feet of schist, limestone, gneiss, dolomite and earth,
President Roosevelt became the first person to drive
through the tunnel after four years of construction.
According to MTA Bridges and Tunnels
President Jim Ferrara, stated that the inception of the Fig. 2.11
Queens-Midtown Tunnel has been a key link in the
New York City metropolitan regions transportation
network. Ferrara has stated that:
[The tunnel provides] a vital conduit for businesses,
daily commuters and families exploring the cultural
riches that exist from Manhattan to Queens and
Long Island,

42
During the first full year of operation, the tunnel
accommodated 4.4 million vehicles, as compared
to 27.7 million vehicles in 2009. When the tunnel
was first opened in 1940 the cost was $.25 to cross;
today, its $5.50.
Fig. 2.12
43
Soil Type 8
7. Laguardia-Ebbets-Pavement & buildings, wet

substratum complex, 0 to 8 percent slopes: Nearly level
to gently sloping areas filled with a mixture of natural soil materials and
construction debris over swamp, tidal marsh, or water; a mixture of
anthropogenic soils which vary in coarse fragment content, with more than
15 percent impervious pavement and buildings covering the surface. 8
Classification of the Soils
According to Keys to Soil Taxonomy, Ninth Edition (2003), the soils are
classified as follows:
Laguardia Loamy-skeletal, mixed, active, nonacid, mesic Typic Udorthent
Laguardia Series:
Parent Material: Loamy fill, greater than 40 inches deep, with construction
debris
Landform: Anthropogenic urban fill plains
Depth to Bedrock: Very deep
Drainage Class: Well drained
Permeability: Moderate
Soil Texture: Silt loam, loam, or sandy loam throughout
Coarse Fragments: 35 to 75 percent (average)
Range in Soil pH: Very strongly acid to neutral
Hydrologic Soil Group: B
Typical Soil Profile:
Ap- 0 to 8 inches brown (10YR 4/3) gravelly sandy loam, weak very fine
subangular blocky structure; friable; 25 percent gravel-sized artifacts and 5

44
percent cobbles; neutral.
Bw- 8 to 26 inches brown (10YR 4/3) very gravelly coarse sandy loam;
weak very fine subangular blocky structure; friable; 40 percent gravel-sized
artifacts and 5 percent cobbles; neutral.
C- 26 to 79 inches brown (10YR 4/3) very gravelly coarse sandy loam;
moderate thick platy structure; friable; 50 percent gravel-sized artifacts and
7 percent cobbles; neutral.
Classification of the Soils
According to Keys to Soil Taxonomy, Ninth Edition (2003), the soils are
classified as follows:
Ebbets Coarse-loamy, mixed, superactive, nonacid, mesic Typic Udorthents
Ebbets Series:
Parent Material: Loamy fill, greater than 40 inches deep, with construction
debris
Landform: Anthropogenic urban fill plains
Depth to Bedrock: Very deep
Drainage Class: Well drained
Permeability: Moderate, moderately slow where the surface has been
compacted
Soil Texture: Silt loam, loam, or sandy loam throughout
Coarse Fragments: 10 to 34percent, with more than 10 percent artifacts
Range in Soil pH: Very strongly acid to moderately alkaline
Hydrologic Soil Group: B
Typical Soil Profile:
A- 0 to 4 inches very dark grayish brown (10YR 3/2) loam; weak fine
45
subangular blocky structure; friable; 5 percent gravel-sized artifacts; slightly
acid.
Bw- 4 to 8 inches dark yellowish brown (10YR 4/4) gravelly sandy loam;
weak fine subangular blocky structure; friable; 25 percent gravel-sized
artifacts; moderately alkaline.
C- 8 to 60 inches dark yellowish brown (10YR 4/4) gravelly sandy loam;
massive; friable; 30 percent gravel-sized artifacts; moderately alkaline.
Soil Depth Classes denote the depth to bedrock:
Very Deep: > 150cm >60 inches
Drainage Class refers to the frequency and duration of wet periods under
conditions similar to those under which the soil developed. Classes include:
Well drained: The seasonal high water table is rarely higher than 40 inches
from the surface for any significant period during the growing season.
Permeability describes the ease with which gases, liquids, or plant roots
penetrate or pass through a bulk mass of soil or a layer of soil. The
permeability classes are:
in hr-1 ms-1
Moderate 0.6- <2 4-14
Soil Texture Definition:
Loamy sand: A total of 25 percent or more very coarse, coarse, and
medium sand and a total of less than 25 percent very coarse and coarse
sand, and less than 50 percent fine sand and less than 50 percent very fine
sand.

46
Sandy loam: A total of 30 percent or more very coarse, coarse, and medium
sand, but a total of less than 25 percent very coarse and coarse sand and
less than 30 percent fine sand and less than 30 percent very fine sand; or a
total of 15 percent or less very coarse, coarse, and medium sand, less than
30 percent fine sand and less than 30 percent very fine sand with a total of
40 percent or less fine and very fine sand.
Coarse Fragments are those particles in mineral soil material greater than
2mm. USDA recognizes the following:
Gravel 2 to 76mm (3 inches)
Cobbles 76 to 250mm (10 inches)
Stones 250 to 600mm (24 inches)
Boulders > 600m
Coarse fragments are described / estimated in the field on a percent volume
basis. Textural modifiers are used when the volume exceeds 15 percent as
follows:
15 to < 35 Use adjective for appropriate size; e.g., gravelly.
35 to <60 Use very with the appropriate size adjective; e.g., very gravelly.
60 to <90 Use extremely with the appropriate size adjective; e.g.,
extremely gravelly
Soil pH or reaction is a measure of acidity or alkalinity of a soil, expressed in
pH values. The reaction classes are:
Very Strongly acid 4.5 to 5.0
Strongly acid 5.1 to 5.5
Moderately acid 5.6 to 6.0
Slightly acid 6.1 to 6.5
Neutral 6.6 to 7.3
47
Mildly alkaline 7.4 to 7.8
Moderately alkaline 7.9 to 8.4
Hydrologic Soil Group is a soil interpretation or rating system for runoff
potential. The chief consideration is the inherent capacity of the bare soil to
permit infiltration. The soil properties that influence this potential are depth
to a seasonal high water table, the infiltration rate and permeability after
prolonged wetting, and depth to a very slowly permeable layer. Slope and
type of plant cover are not considered, but are separate factors in predicting
runoff. The classes are:
B Soils with moderate infiltration rates when thoroughly wet; moderately
deep to deep, moderately well drained to well drained soils with moderately
fine to moderately coarse textures, and moderately rapid to moderate
permeability
Particle size separates (USDA) for mineral soil include:
sand - 2 to 0.05 millimeters - gritty feel - can be seen with the eye
silt - 0.05 to .002 millimeters - smooth feel - can be seen with a light
microscope
clay - less than .002 millimeters -sticky feel - can be seen with an electron
microscope

48
Wind Distribution 9
Winter Season
Spring Season
Summer Season
Fall Season
49
Sun Angles
December 23
Annual Sun Movement

Sunrise
Sunset
Always Lite
The amount of natural light that is exposed to
the site, serves as an important factor in the
use of sustainable opportunities as well as the
layout of interior spaces. Along the South- West September and March 23
corner of the site, there is always an automatic
access to natural lighting no matter the time
of year, because the sun always travels in this
section.
June 23

50
Work Cited
1
Humid Subtropical Climate, http://en.wikipedia.org/wiki/Humid_subtropical_climate. 10
February 2011.
2
Climate Zones, http://www2.iccsafe.org/states/new_york/NY_Energy/PDFs/Chapter%203.
pdf. 15 February 2011.
3
New York City Climate, http://www.wordtravels.com/Cities/New+York/New+York+City/
Climate. 10 February 2011.
4
Zoning Map 8d- NYC.gov, http://www.nyc.gov/html/dcp/pdf/zone/map8d.pdf . 19 January
2011.
5
Frankline D. Roosevelt East River Drive, http://en.wikipedia.org/wiki/Franklin_D._Roosevelt_
East_River_Drive. 5 February 2010.
6
Second Avenue Line (Surface), http://en.wikipedia.org/wiki/Second_Avenue_Line_(surface).
3 February 2011.
7
Jordan Heller. Queens-Midtown Tunnel Turns 70, http://www.dnainfo.com/20101115/
midtown/queensmidtown-tunnel-turns-70. 14 February 2011.
8
Urban Soil, http://www.nycswcd.net/files/RSS_postermap_200dpi.pdf). 21 January 2011.
9
Windfinder - Wind & weather statistic John F Kennedy Intl. http://www.windfinder.com/
windstats/windstatistic_john_f_kennedy_intl.htm#. 2 February 2011.
Photo References
Fig 2.1: Humid Subtropical Climate, http://en.wikipedia.org/wiki/Humid_subtropical_climate.

20 February 2011.
Fig. 2.2-2.4: Annual New York City Weather, http://forecast.weather.gov/MapClick.php?C

ityName=Nyack&state=NY&site=OKX&textField1=41.0901&textField2=-73.915&e=0. 10
February 2011.
Fig. 2.5: Manhattan Community District 6, http://www.nyc.gov/html/dcp/pdf/lucds/

mn6profile.pdf#profile. 15 January 2011.
Fig. 2.6: Zoning Map 8d- NYC.gov, http://www.nyc.gov/html/dcp/pdf/zone/map8d.pdf. 19

January 2011.
Fig. 2.7: Designating the Urban Interstates: East River Drive in Manhattan. http://www.
fhwa.dot.gov/infrastructure/fairbank15.cfm. 15 February 2011.
Fig. 2.8: Franklin D. Roosevelt (East River) Drive: Historic Overview, http://www.nycroads.
com/roads/fdr/. 5 February 2011.
Fig. 2.9: Second Avenue Line (Surface), http://en.wikipedia.org/wiki/Second_Avenue_Line_

(surface). 3 February 2011.
51
52
53
Programming and Quantitative Analysis
Building Codes 55
Programming Development 57

54
Building Codes
The inspiration of the structure was derived from the title of the first
chapter of Alices Adventures in Wonderland as well as figure 1.5 image;
the image of Alice is looking down the rabbit hole. This is the origin of the
concept of this thesis; the separation of the above and below spaces, as
well as the use of chemical senses in architecture. In addition to these
two concepts, a third developed, which was the separation between the
chemical senses and the reminding three senses. With this new concept,
the idea of developing an educational facility came about in relation to the
separation of the senses. Since the chemical senses are the senses that
are not as common as the others, the need to educate people of these
sensors, were the main and central idea that went into the selection of
the building type. With the site classification of C 4-6 zoning that has a
maximum limit of designing a structure with 200,000 square feet in floor
area, the choice to design an interactive educational facility inspired by
the chemical senses, is an ideal project to illustrate Juhani Pallasmaas
statement that expressed architecture to involve the seven realms of sensory
experience that interact and infuse each other. 1
The primary goal of the thesis is to develop a museum that is
separated into four different types of spaces which includes brainy, smelly,
tasty, and hidden spaces. These areas will be developed between sections
that are above and below grade. With the two different surface types,
the structure will be designed in layers within the different, sections of the
museum that may vary with space type. Areas that are needed and will be
developed are storage, mixed use spaces, neutral, inside and outside, as
well as urban and park like spaces. Special attention will be made to the
access of light within areas that are underground, because the goal is for
visitors not to feel like they are not closed off from the above surfaces.
55
Primary Users:
Schools (Students)
Tourists
Open to Public
Occupancy Type (According to the IBC) - Assembly
A-3: This group includes recreational, amusement, and worship uses not
specifically falling under other Assembly groups, including, for example,
galleried, auditoriums, churches, community halls, courtrooms, dance halls
gymnasiums, lecture halls, libraries, museums, passenger station waiting
areas, and the like.
Gathering spaces less than 750 sq. ft. in area or accommodating fewer than
50 persons are treated as Group B, Business occupancies or, when located
within other occupancies, as part of the surrounding occupancy. Assembly
spaces located within Group E, Educational facilities are treated as part of
the Group E occupancy.

56
Program Development
Alice in Wonderland was originally to have been

entitled Alices Adventures Underground. But why didnt
Carroll keep this title? Because Alice progressively
conquers surfaces. She rises or returns to the surface.
She creates surfaces. -Deleuze
Developing the organized space extended from an exercise that
involved a diagram of words that related to the concepts that were
developed within the first chapter. The buildings design will be separated
into four key areas which includes areas that are either, brainy, smelly, tasty,
or hidden. These words related directly to the concepts that were previously
discussed. The spaces reflect the importance of combining these words
that are separated but come together within the mind. Like the mind,
architecture will serve the role of combining separate entities in order to
create harmony among the spaces of the structure.
57
ogramming: TypesTypes
Programming: of Spaces
of Spaces
Dark
Dark
Wondering Sunken
Wondering Sunken
Hidden
Multiple Hidden
Spatial and Geometric Salty, Sour, Bitter,
ad
FunctionsMultiple Character Umami, Sweet Salty, Sour, Bitter,
Spatial and Geometric
Head Character Umami, Sweet
Functions
Brainy Spaces
Brainy
Tasty
Spaces
Paired
Tasty
Secondary
Paired
ive Compartments Tongue
Active Compartments Tongue Secondary
Connective Influenced
Smelly
Symmetrical Binding
Connective Influenced
Smelly
Symmetrical Binding
Small Clusters (Taste Buds)
Small Clusters (Taste Buds)
Nose Main
Central
NoseSupport
Binding Airy
Main
Delayed Mass and
Binding Volume
Central Support Airy
Delayed Mass and Volume
Brainy Space
Lobby 1,500 sq. ft.
Brainy
Musuem Store Space
750 sq. ft.
Lobby
Multi-Purpose Room 2,500 sq. ft.1,500 sq. ft.
Musuem Store 750 sq. ft.
Multi-Purpose Room 2,500 sq. ft.
Smelly Space
Exhibit 4,000 sq. ft.
Cafeteria Smelly Space
3,000 sq. ft.
Garden Exhibit 5,000 sq. ft.4,000 sq. ft.
RestroomsCafeteria 3,500 sq. ft.3,000 sq. ft.
Garden 5,000 sq. ft.
Tasty Space
Restrooms 3,500 sq. ft.
Classrooms 750 sq. ft.
Cafeteria Tasty Space 1,000 sq. ft.
Classrooms 750 sq. ft.
Cafeteria 1,000 sq. ft.
Hidden Space
Staff Offices 1,000 sq. ft.
Storage 2,500 sq. ft
Hidden Space
Staff Offices 1,000 sq. ft.
Total Space
Storage 25,500 sq. ft sq. ft
2,500
58
Above Spaces
Below Spaces
59
Above Spaces
Below Spaces
60
Work Cited
1
Steven Holl, Juhani Pallasmaa, and Alberto Perez- Gomez, Questions of Perception:
Phenomenology of Architecture, San Francisco: William Stout Publishers, 2006, 30.
2
Edward Allen and Joseph Iano, the Architects Studio Companion: Rules of Thumb for
Preliminary Design 4th ed., Hoboken, NJ: John Wiley & Sons, Inc, 2007, 205.
3
4
5
Preliminary Design 4th ed., Hoboken, NJ: John Wiley & Sons, Inc, 2007, 284-285.
6
61
62
63
Schematic and Building Design
Sites Thresholds 65
Sites Taste 67
Site Surroundings 68
Sites Layout 69
Site Application 70
Conceptual Development 71
Plans 73
Structure 75
Sustainable Strategy 77

64
Sites Threshold
... Three threshold methods (i.e., the method of limits, the method of adjustment, and
the method of constant stimuli). Thresholds present some technical difficulties, but
they are conceptually easy to understand: The absolute threshold for a stimulus is the
smallest amount of the stimulus that can be detected, while the difference threshold is
the smallest increment from one amount of stimulus to a higher amount that can be
detected (i.e., the just noticeable difference -Psycho Physicist, Gustav Fechner.
Down the Rabbit Hole

The rabbit-hole went straight on like a tunnel for some way, and then dipped suddenly down,
so suddenly that Alice had not a moment to think about stopping herself before she found
herself falling down a very deep well.
Either the well was very deep, or she fell very slowly, for she had plenty of time as she went
down to look about her and to wonder what was going to happen next... Down, down, down.
Fig. 4.1
Drink Me
... `DRINK ME beautifully printed on it in large letters... Alice ventured to taste it, and finding
it very nice, (it had, in fact, a sort of mixed flavour of cherry- tart, custard, pine-apple, roast
turkey, toffee, and hot buttered toast,) she very soon finished it off... She was now only ten
inches high,... She was now the right size for going though the little door into that lovely
garden.
Fig. 4.2
65
Eat Me
... A very small cake, on which the words `EAT ME were beautifully marked in currants.
`Well, Ill eat it, said Alice, ... She ate a little bit,... `Now Im opening out like the largest
telescope that ever was! Good-bye, feet! (for when she looked down at her feet, they seemed
to be almost out of sight, they were getting so far off).
Fig. 4.3

66
Sites Taste
N
Salty:
East River
Savory:
A- El Parador Cafe- 326 East 34th Street
B- Panini Tozt Cafe- 589 First Avenue
C- Impress Deli Inc.- 401 East 34th Street
D- Estiatorio Rafina- 630 First Avenue
E- Cafe 650 Inc.- 650 First Avenue
F- Pizza Pita- 344 East 34th Street
G- Kips Bay Delicatessen- 593 First Avenue Sweet:
H- NYU Bagels & Cafe Inc.- 587 First Avenue First Avenue
Bitter: 34th Street
1- NYU Medical Center- 550 First Avenue Midtown Tunnel Entrances
2- NYU Child Study Center- 577 First Avenue
3- NYU School of Medicine- 550 First Avenue Sour:
4- NYU Medical Center: Rusk Institute for FDR Drive
Rehabilitate- 400 East 34th Street East 35th Street, East 36th Street,
5- NYU Langoue Medical Center- 550 First Avenue East 37th Street, East 38th Street,
6- New York Medical Examiner- 520 First Avenue East 39th Street, East 40th Street and
7- Murray Hill Medical Group- 317 East 34th Street East 41st Street
67
Site Surroundings
N
Points of Interest:
St. Vartans Park, Northbound Exit 9
East 34th Street, East 34th Street Sea Plane Base
Public Transportation: Wind Direction

M34 and M15 Buses
Bike Path:
Along FDR Drive, East 36th and East 37th Streets, First Avenue and East 34th Street.
68
Sites Layout
Bit
ter
So
ur
Sa
vo Expansive Taste:
ry
- Soft Texture
- Fast Growth
Sw - Outward Movement
Contracting Taste: ee - Creative and Relaxed
- Hard Texture t
So - Grows Above Soil
- Slow Growth ur - Cold or Cooling
- Inward Movement
- Tight and Stressed Sa
Sa vo
- Grow Below Soil lty ry
- Hot or Warm
So
ur
N
Th
re
sh
old
of
Lim
its
co
ns
tan
ts
tim
uli
Threshold of Limits
Threshold of Adjustment
69
Site Application
Threshold of Constant Stimuli
Constant Fall Digression into space
Visible Gap Alice Curiosity
Rabbit Hole
Drink Me Spaces Eat Me

Chemical Senses Enjoyed Senses are Relaxed Chemical Senses Unenjoyed Panic Senses
Smell & Taste Alice shrinks into her

Alice expands in her environment.
surroundings. Cake not on Alices
Samples from the nose tongue long enough to
Threshold of Adjustment Threshold of Limits
and mouth combine. enjoy stimuli
Nose Tongue 5 Elements Nose Tongue Binding
Airy Main Clusters Taste Buds Supportive Delayed Spatial & Geometric Character
Central Symmetrical Mass and Volume Secondary
Programming:
Rabbit Hole: Drink Me: Eat Me:

Lobby Garden Garden
Museum Store Restaurants Classrooms
Kitchen Classrooms Labs
Staff Offices Staff Offices
Restrooms Restrooms
Organic Store Exhibit Spaces

70
Conceptual Development
71
Thresholds
Constant Stimuli
Adjustment
Limits

72
ED BY AN AUTODESK STUDENT PRODUCT
Plans
ge
Loun
Ph
oto
Stu
Dark Room
dio
ter
Thea
RODUCED BY AN AUTODESK STUDENT PRODUCT

ntal Labs
t
uran
Storage
Resta
Storage
Sto
Experime
rag
Classroom
s
e
h.
rant
HVAC/Mec
ta u
Res
Library
en
Kitch
en
Kitch
Classroom
uran
t s
ta
Res
N
Lower Level
Scale: 1-0 = 1/32
Level 2
Exhibit Space
Level 1 2
1
1/32" = 1'-0" 1/32" = 1'-0"
Organic Store
Laboratories
hen
Plant Labs
Le
age
ctu
Kitc
Stor
re
e
ctiv
Prep
Classroom
s
N
era
Top Level
Int
Library Scale: 1-0 = 1/32
Cafe
2 Level 3
3
= 1'-0"
Sto
Exhibit Space 1/32" = 1'-0"

rag
e
AUTODESK STUDENT PRODUCT

s
Laboratorie
N
Ground Level
Scale: 1-0 = 1/32
Level 2 Level 3
2 3
1/32" = 1'-0" 1/32" = 1'-0"
73
PRODUCED BY AN AUTODESK STUDENT
Thresholds Constant Stimuli
Adjustment
Limits
Lower Level
Ground Level
Top Level
74
Structure
Loads
PRODUCED BY AN AUTODESK STUDENT PRODUCT
DUCED BY AN AUTODESK STUDENT PRODUCT
ODUCED BY AN AUTODESK STUDENT PRODUCT
Load Bearing
N
Lower Level
Level 1 Level 2
1 2
1/32" = 1'-0" 1/32" = 1'-0"
Load Bearing
Non Load Bearing
N Top Level
Top Level
Level 2 Level 3
2 3
1/32" = 1'-0" 1/32" = 1'-0"
BY AN AUTODESK STUDENT PRODUCT
Load Bearing
Non Load Bearing
N Ground Level
Ground Level
Level 2 Level 3
2 3
1/32" = 1'-0" 1/32" = 1'-0"
75
PRODUCED BY AN AUTODESK STUDENT PRO
Egress
Spaces Circulation Top Level

Public General Public
Private Students
Neutral
Ground Level
Lower Level

76
Sustainable Strategy
Living Machines:
The Living Machine is a form of biological
wastewater treatment developed by Worrell Water
Technologies, LC in Charlottesville, VA, that was
designed to mimic the cleansing functions of
wetlands. This system is functional within indoor
or outdoor space and requires a small amount of
space, and is installed to meet the demands of the

Fig. 4.4
location and the local climate.
Settling Tank: Before the water can enter the
system, it must be gathered in a tank where the flow
is equalized and solids are allowed to settle. Larger
installations will use a filter for the same purpose.
Control System: The flow of water through the
system is managed by a central control system,
which also monitors system performance. Our
control system is the best in the industry, and it uses
a web-based interface to track water levels and
control flow rates through the system. At the same

Fig. 4.5
time it monitors water quality and can send alerts
to remote locations if it senses a problem with the
system.
Wetlands Installations: At the heart of the Living
77
Machine are the wetland beds which contain gravel aggregate, specially
engineered films of beneficial microorganisms, and plants working together
in a living, highly complex, ecosystem. The newest generation of Living
Machine uses three patented wetland designs. Depending on the needs
of the project, one or all of these wetlands types can be used in a Living
Machine.
Disinfection System: This optional step can use ozone, ultraviolet, or
chlorine (alone or in combination) to kill any pathogens that are left in the
water. Depending on the types of wastewater being treated, disinfection
systems may be required before water can be reused or discharged into the
environment.
Reuse System: Clean, treated water is gathered in a storage tank,
and distributed for reuse. Uses for water recycled by the Living Machine
can include: toilet flushing, animal and pen cleaning, irrigation, decorative
surface features such as ponds or waterfalls, or return directly to the
environment. 1

78
Coconuts have been a food that has been
used in many inventive manners, from adding flavor
to foods to jewelry; in addition to the coconuts
diverse implications, the fruit can be used as a mean

Fig. 4.6 of sound absorption and insulation. These usages
are from the coconut coir which is the outer husk of
coconuts that comes from the part of the seed pods
of the coconuts palm.
In a recent study, coconut coir fiber has shown

Fig. 3.5
that there are good acoustic properties at both low
and high frequencies, which proves that the fibers
could be used as an alternative replacement to
synthetic based commercial products. Using porous
layers and perforated plate backing to the coconuts

Fig. 4.7
fiber, sound absorber panel shows good potential
for the product environmentally friendly. The driving
point to using the mixture of coconut fiber with
porous layer backing and perforated panels is that
it is cheaper, lighter and environmentally compared
to glass fiber and mineral based synthetic materials,
which makes for a bright future in its usage.2
Continuing with the scientific studies of coconut
fiber, there has been test that have shown that the
79
combination of particle boards used from the durian peel and coconut coir
mostly has better properties than those made of from coconut or durian peel
individually. The thermal conductivity of this combination has shown that
the there is a fairly low mixture ratio, which shows that these particle boards
may be used as a component of building materials such as insulation walls
or ceiling for energy conservation. 3

80
CT
DU
O
PR
Living Machines T Coconut Fiber
D EN
U
ST
SK
DE
TO
AU
Coconut Fiber is going to be
used as insulation within the
AN walls.
BY
Living Machines will
E D be used
throughout the structure and
U C top garden
will lead to a roof
that is used D
different R
O to produce
herbs.
P
"
-0
l 3 1'
ve " =
L /32
1
e
3
UCT
D
R O
P
E NT
D U
ST
K S
81
DE
O
Work Cited
1
We build it Nature does the work, http://www.livingmachines.com/about/how_it_works/.
15 February 2011.
2
Rozli Zulkifli, Zulkarnain and Mohd Jailani Mohd Nor, Noise Control Using Coconut Fuber
Sound Absorber with Propous Layer Backing and Perforated Panel, http://www.scipub.org/
fulltext/ajas/ajas72260-264.pdf. 20 February 2011.
3
Joseph Khedari, Noppanun Nankongnab, Jongjit Hirunlabh, Sombat Teekasap, New
low-cost insulation particleboards from mixture of durian peel and coconut coir, http://
www.energy-based.nrct.go.th/Article/Ts-3%20new%20low-cost%20insulation%20
particleboards%20from%20mixture%20of%20durian%20peel%20and%20coconut%20coir.
pdf. 18 February 2011.
Photo References
Fig. 4.1: Jesus Diaz, Alice in Wonderland doesnt need 3D, http://gizmodo.com/5486765/
review-alice-in-wonderland-3d-doesnt-need-the-3d. 26 October 2010
Fig. 4.2: Lewis Carroll, Chapter 1- Down the Rabbit-Hole, http://www.literature.org/authors/

carroll-lewis/alices-adventures-in-wonderland/chapter-01.html. 30 October 2010.
Fig. 4.3: Michael May, Alices Adventures in Wonderland (and Through the Looking Glass),
Fig. 4.4: We build itNature does the work, http://www.livingmachines.com/about/how_it_

works/. 15 February 2011.
Fig. 4.5: Inside a Living Machine, http://www.popularmechanics.com/science/

environment/4239381. 15 February 2011.
Fig. 4.6: What is Coir?, http://www.coirinstitute.com/whatis_coir.htm. 25 February 2011.
Fig. 4.7: Coir Fiber., http://www.fibrivoire.com/en/mixedfiber.htm. 25 February 2011.

82
83
Design Development
Occupancy Type 85
Plans 87
Egress 91
Structure 95
AIA Code of Ethics 101

84
Occupancy Type
The main source of inspiration for this thesis is based on

the daily use of the chemical senses of smell and taste. These
senses are used on a daily basis; however, they often go
unnoticed because they blend into everyday life. The deletion
of the chemical senses in ones life, will present a significant
difference on how a person perceives his or her world. The
purpose of this thesis development is to explore how the use of
smell and taste can relate to architecture and its ability for people
to gain a sense of place when it is not easily identifiable.
Since chemical senses influence what we perceive in our

spaces, the areas that will be of focus in design development will
be the connective spaces through the use of vertical elevation.
These spaces of vertical elevation are the main sources of egress
(the main stairwells), as well as the connective space, the exhibit
spaces (that serve as the central spaces of the lower two floors).
Primary Users:
Schools (Students), Researchers, General Public
Occupancy Type (According to the IBC) - Assembly
A-3: This group includes recreational, amusement, and worship uses not
specifically falling under other Assembly groups, including, for example,
galleried, auditoriums, churches, community halls, courtrooms, dance halls
gymnasiums, lecture halls, libraries, museums, passenger station waiting
areas, and the like.
85
Gathering spaces less than 750 sq. ft. in area or accommodating
fewer than 50 persons are treated as Group B, Business occupancies
or, when located within other occupancies, as part of the surrounding
occupancy. Assembly spaces located within Group E, Educational facilities
are treated as part of the Group E occupancy.
The thesis will serve as a mixed-use occupancy building that will
serve to three types of visitors; however, they are all within the assembly
occupancy. The buildings program will target three types of users with
educational facilities, restaurants, as well as retail space available on the
buildings lot. The lot presents vast opportunities with no setback restrictions
according to code. The lot presents an opportunity for a 200,000 square
foot building to be designed. This considerable square footage could give
meaning to the residential and mixed-use occupancies in the surrounding
communities since it already exist within the community district.

86
Plans
37
th
St
re
et
36
th
St
re 37
et th
St
re
et
ue
35
th
en
St
re W 36
et es th
Av
tE S
lev tr
No
Assembly
ati ee
Entrance
on t
rth
Lobby Closet
Assembly 1
2831 SF J 2'1-2
E
- 6"
A-1
59 SF
lev
1223 SF
Assembly 2 Room
8"
7 7/
A-2 J 1-3
ati
'-
15
36 SF
st
Assembly 3
on
A-3
Organic Food 2371 SF
Store
34
103
Interactive Area
Fir
4599 SF
101
th
863 SF
ou S
Exhibition Space
St
th 1
102 Storage/ Staging

Closet 4897 SF S-1
Ele
re 35East
J 1-1 556 SF
64 SF
v
th Elev
et
ati
St atio
2
on
re n
et
34
th
St
re
et
N
Site Plan
1= 30-0
87
As
En semb
tra ly
nc
Lo e
bb
28 y
31
1
SF
ly
mb
SF
1
se
A-
As
23
12
A-2 ly 2
mb
SF
se
As
45
18
Organic Food
Store
103
Interactive Area
23
4555 SF
As
71
101
A-3
se
SF
mb
863 SF
ly
3
Exhibition Space
102
S
55
torag
6S
S-1
F
e/
4897 SF
Sta
gin
Closet
J 1-1
g
64 SF
First Floor
1/8= 1-0 N

88
Lib
rar
20 y
2
Closet
90
J 2-2
69
59 SF
SF
La
bo
rat
20 ory
Exhibition Space 45 1
52
203 SF
4497 SF
Restaurant 1
1462 SF
204
Kitchen 1
Kitchen 2
832 SF
840 SF
K-1
K-2
Restaurant 2
1239 SF
205
Service Area
S-2
Service 297 SF
Janitor Closet Coorditdoor
J 2-3
18
120 SF
1109 SF
Second Floor
N
1/8= 1-0
89
Conference Area
303
1637 SF
Of
fic
es
30
27 2
91
SF
Closet
La J 3-3
bo 50 SF
rat
30 ory
34 1 2
26
SF
Closet
J 3-1
79 SF
Classroom 1 Classroom 2 Classroom 3

306 305 304
1817 SF 1778 SF 1722 SF
Service Area
S-3
297 SF
N
Third Floor
1/8= 1-0

90
Egress
Construction- 3 Hour Non Combustible, Type I- A (Sprinklered) 1
This type of construction allows for the use of Structural Steel,
Reinforced Concrete, Post tensioned Concrete Floor Slabs, Precast
Concrete Columns, Brick Masonry Load bearing walls, or Concrete
Masonry. This construction type has an unlimited maximum height and
unlimited use of square footage. The benefit from this type of construction
is the allowance for the structure to overhang can be developed within
different sections of the building. Since the rear portion of the structure will
be designed as an overhead rooftop garden, this area calls for precast
concrete columns to support the roof overhead; this grants visitors the
opportunity to enjoy the courtyard area below the rooftop garden.
Egress- The Exit Access 2
Corridors- For Group A, B, E, F, M, S and U Occupancies, unrated
enclosures are permitted for corridors serving 30 or fewer occupants in
unsprinklered buildings and for all corridors in sprinklered buildings.
Occupants Loads: 3
Use Floor Area per Occupant
Accessory storage area 300 ft2 net
Assembly occupancy, concentrated seating 7ft2 net
Assembly occupancy, standing space 5ft2 net
Assembly occupancy, unconcentrated seating 15 ft2 net
(tables, chairs, stages, platforms) For booth seating w/o dividing arms, 18
91
Plans
width per occupant
Educational occupancy, classroom areas 20 ft2 net
Educational occupancy, shops and vocational areas 50 ft2 net
Storage 300 ft2 gross
Egress System Criteria 4
Occupancy Group- A: Assembly
Maximum Travel Distance- Sprinklered 250
Maximum Common Path of Egress Travel- 30 for assembly seating more
than 50 occupants 75 for others.
Largest Room or Area That May Have Only One Means of Egress- 49
Occupants
Minimum Length of Dead-End Corridor- 20
Door Width- Min 32 net clear, Max 48 nominal
Minimum Clear Corridor Width- 44 serving more than 49 occupants, 36
serving 49 or fewer.
Minimum Stair Width- 44 serving more than 49 occupants, 36 serving 49
or fewer.
Using vertical transitions throughout the building, has a great
emphasis on the design development. The design of the ramped rooftop,
allows for connective spaces between the structure and the central spaces
of the structure; the circulation core. Even though these spaces are often
overlooked in other buildings, these areas becomes an experience within
itself.

92
Thresholds Structure Pla
Adjustment
Constant Stimuli
Adjustment
Limit
Constant Stimuli
Limit
93
Seperation of Accessed Spaces
Public
Public
Private
Private
Circulation
Circulation

94
Structure
With the structures occupancy type and the noted

intentions of the thesis, it is best for the structure to have a
sense of freedom; the majority of the building will consist of
sitecast concrete columns in combination with two way flat slabs
and transferring beams. This structural system blends in the
surrounding building material context present within New York
City; however, it still allows for an opportunity for the exterior
facade to show an individual expression.
Structural Systems for Different Building Types 5:
Hospitals, Laboratories- Beams and Girders, Open-Web Joists, Trusses
Libraries- Beams and Girders
Schools- Beams and Girders, Open-Web Joists
Theaters- Beams and Girders, Open-Web Joists, Single-Story Rigid Frame,
Trusses
Sitecast Concrete Walls 6:

The since the structure is supported by various ranges of structural
elements, it is key that the walls within the building is properly able to support
the floors and roof above. Since the building floor heights vary at each level,
the height of the wall determines the width of the walls. With the majority of
the walls supporting heavy loads, the widths of the walls range from 8 to 14
inch widths; these thickness of the walls allows for the tributary width of 1000
to 1500 feet.
95
Sitecast Concrete Columns 7
:
With the desire to open up the interior and exterior spaces, columns
were necessary to achieve this task. The column grid was inspired off
the exterior walls as well as the spaces throughout the three levels of the
building. The columns used are a mix between 24 inches and 30 inches
wide, to support the buildings load; this allows for tributary heavy loads up to
10,000 ft2 with the use of 30 inches square columns.
Sitecast Concrete Two-Way Flat Slab 8:
Using concrete walls and columns, a need for support from the floors
are necessary to help distribute the loads. In this case, two-way flat slabs
that are 12 inches wide and has a span of 30 feet or less is used in this
structure.


96
9
L6
10
11
H
I
12
L7
13
14
1 2 3 4 5
E
15
A
16
17
C
L5
L8
G
16
Closet
J 1-1
64 SF L4
D
E
L9 4 5 6 7 8
L3
L1
L5
L2
17
N
First Floor
1/8= 1-0
97
9
L6
10
11
H
I
12
L7
13
14
1 2 3 4 5
E
15
A
16
17
C
L5
L8
G
16
L4
D
E
L9 4 5 6 7 8
L3
L1
L5
L2
17
N
Second Floor
1/8= 1-0

98

L6
10
11
H
I
12
L7
13
14
1 2 3 4 5
E
15
A
16
17
C
L5
L8
G
16
L4
D
E
L9 4 5 6 7 8
L1 L3
L5
L2
17
N
Third Floor
1/8= 1-0
99
Section 1
1/8= 1-0
Section 2
1/8= 1-0

100
AIA Code of Ethics 9
CANON I- General Obligations
Members should maintain and advance their knowledge of the art and
science of architecture, respect the body of architectural accomplishment,
contribute to its growth, thoughtfully consider the social and environmental
impact of their professional activities, and exercise learned and
uncompromising professional judgment.
The art, science and the respect to the body of architecture will is
noted and expanded with the combination of chemical sensory. These
two elements relate to one another, both are presented within daily lifestyle;
however, they are not infused together. The daily use of smell and taste are
will be translated into a physical form to create a structure that will allow its
visitors to experience the perception of chemical sensory in an architectural
surrounding.
CANON II- Obligations to the Public
Members should embrace the spirit and letter of the law governing their
professional affairs and should promote and serve the public interest in their
personal and professional activities.
The inspirational drive of this thesis is to gather people within a space
that enables visitors to experience how the use of the chemical senses has
an affect to architectural space. From the beginning developmental stages,
the main goal was to serve the public; the different functions of the building
are diverse in order to achieve this desire to actively attracting people into
101
the space. Instead of developing a singular functional building, many
functions are created to keep the spirit of the design alive with a constant
source of energy from visitors.
CANON III- Obligations to the Client
Members should serve their clients competently and in a professional
manner, and should exercise unprejudiced and unbiased judgment when
performing all professional services.
Since the structure was developed with the intention of constantly
gathering people into this space to experience the chemical senses, the
clients play an important role in the phrases of design. With the vast amount
of medical facilities apart of the NYU affiliation, the collaboration with this
provident force within the community is desired. Combining forces with
NYU will allow the building to have an active flow that will bring life to the
classrooms as well as the exhibition areas. To balance the educational
energy that will be created by the classrooms and exhibit spaces, the use of
restaurants, a store, and an interactive space serves as components that will
gather energy within the structure while the educational facilities are not in
use. The primary goal of the thesis is to serve the main client, the public.
CANON IV- Obligations to the Profession
Members should uphold the integrity and dignity of the profession.
Even though the thesis derived from the wacky literally fictional

102
writing of Lewis Carroll, the intent of this thesis is to present a new form
of architecture that is related to using spaces as it is seen through Alices
perception in Carrolls writing. Alices perception explores the relationship
between people and their spaces, as well as the switch between the scales
of perception.
CANON VI- Obligations to the Environment
Members should promote sustainable design and development principles in
their professional activities.
One of the thesis goals is to incorporate the use of sustainable and
landscape design to drive the structural design forward, with the expression
of the significance of the conceptual use of smell and taste in Alices
adventures in relation to architecture. The use of sustainable features will
be present throughout the different sections of the building, The sustainable
feature that will be presented the most throughout the structure will be the
use of coconut coir fiber as a source of insulation and sound proofing. To
tie in the sustainable features that will be used within the exterior and the
interior of the structure, living machines will be implicated for the purpose of
purifying the water that will be in use, as well as feeding life into the herbal
garden that will feed the public within the organic stores and restaurants.
103
Work Cited
1
2
3
4
Preliminary Design 4th ed., Hoboken, NJ: John Wiley & Sons, Inc, 2007, 284-285.
5
6
7
8
9
2007 Code of Ethics & Personal Conduct, http://www.aia.org/aiaucmp/groups/aia/
documents/pdf/aiap074121.pdf.

104
105
Design Defense
Final Boards 107
Conclusion 111

106
Thesis Design Boards
EXPERIENCING ARCHITECTURE THROUGH CHEMICAL SENSORY PERCEPTI

This thesis explores the combined application of the literary work from Lewis Carrolls, Alices Adventure in Wonderland, and the use of the
chemical senses of smell and taste, translated into an architectural language. The thesis focus is around the initial chapter, Down the Rabbit
Hole, where the chemical senses becomes apparent and alters the protagonist, Alice, perception of space. This fiction writing, provides a
balance between the whimsical and realistic aspects of smell and taste. This balance will be developed into an physical representation to be
translated into an physical representation to be explored in New York City; a setting as diverse as Wonderland.
Kirrah Allen - Thesis II- Studio IX- Professor Rogers-Varland- Spring 2011
Experiencing Architecture Through Chemical Sensory Perception
EX
This
within
found
of the
107
TION Keeping with the angular shape of the building,

the roof is also at an angle. The angles that are
created throughout the site, aids in the designs ability
bit to pop out from its surroundings.
be The area that are outside of the classroom space on the

third floor, acts as a buffer between indoor and outdoor space.
There is a wall of glass that surround that portion of the wall, and
gives views of the outdoor garden space that can be used.
View
Use of different colors in the facades exterior glazing

represents each of the factors of taste; Umani, Sweet,
Sour, Salty and Bitter. The pattern on the exterior is a graphic
representation of a sour chemical formula of Acetic Acid.
The building is supported by the use of sitecast concrete

Two-way flat slabs,sitecast concrete columns, and
load bearing walls. This combination allows for a mix use
between open and closed areas of the building.
View
The pathway into the building is a result of following

the angles that are within the building. Allowing
the structure to influence the landscape creates a
sense of unity between the landscape and the building
is created.
XPERIENCING ARCHITECTURE THROUGH CHEMICAL SENSORY PERCEPTION

s thesis was developed by exploring the chemical sensory within the story Alices Adventure in Wonderland. When doing research, the scenes
hin the first chapter has a direct relationship between the chemical senses and how they affected Alices perception of her space. With this new
nd information, the design was developed on three key scenes, Down the Rabbit Hole, Drink Me, Eat Me; these scenes aided in the design
he chemical senses in physical form, according to Alices experience. View

108
Thesis Design Boards
erception
nd- Spring 2011
Separation of Spaces Plans Thresholds
... Three threshold methods (i.e., the method of limits, the
method of adjustment, and the method of constant stimuli).
Adjustment
Thresholds present some technical difficulties, but they are Constant Stimuli
conceptually easy to understand: The absolute threshold for Limit
a stimulus is the smallest amount of the stimulus that can be 9
detected, while the difference threshold is the smallest L6

G
10
increment from one amount of stimulus to a higher amount

that can be detected (i.e., the just noticeable difference
11
H
the
I
-Psycho Physicist, Gustav Fechner.

12
L7
13
or space. Down the Rabbit Hole- Threshold of Constant Stimuli A

1 2 3 4 5
E
14
15
he wall, and The rabbit-hole went straight on like a tunnel for some way, and
B
16
then dipped suddenly down, so suddenly that Alice had not a

used.
17
moment to think about stopping herself before she found herself C
falling down a very deep well.

L5
L8
G
Either the well was very deep, or she fell very slowly, for she had
F
16
Closet
J 1-1
64 SF L4
D
plenty of time as she went down to look about her and to wonder L9 4 5 6 7 8
E
what was going to happen next... Down, down, down. L1

L3
L5
L2
17
Drink Me- Threshold of Adjustment

N
... DRINK ME beautifully printed on it in large letters... Alice First Floor
ventured to taste it, and finding it very nice, (it had in fact, a sort of 1/32 = 1-0
mixed flavour of cherry-tart, custard, pine-apple, roast turkey,
toffee, and hot buttered toast), she very soon finished it off... She
was now only ten inches high, ... She was now the right size for
going though the little door into the lovely garden.
View Inside Third Floor L6

G
10
11
H
I
Library Closet
202
12
J 2-2
9069 SF 59 SF
L7
13
Closet
J 2-1
49 SF 14
1 2 3 4 5
E
15
A
Eat Me- Threshold of Limits B Labortory

201
4552 SF
16
Exhibition Space
... A very small cake, on which the words EAT ME were

203
4497 SF
17
beautifully marked in currants. Well, Ill eat it, said Alice,... She C
ate a little bit,... Now Im opening out like the largest telescope that Separation of Accessed Spaces
L5
L8
G
Restaurant 1 Kitchen 1 Kitchen 2 Restaurant 2
ever was! Good-bye, feet! (for when she looked down at her feet
204 K-1 K-2 205
1 1462 SF 832 SF 840 SF 1239 SF
Service Area F
they seemed to be almost out of sight, they were getting so far

S-2
Service 297 SF 16
J 2-3
18
120 SF L4
Public
1109 SF
D
off).
E
L9 4 5 6 7 8
L1
L3
Private
L5
L2
Circulation
17
N
Second Floor
1/32 = 1-0
Taste of Site
7
A
6 9
G
1
H L6
10
F
5 B G 3
2 11
C H
I
12
4
L7
13
Salty: East River

14
1 2 3 4 5
E
E A
15
D B
Savory: 16
A- El Parador Cafe- 326 East 34th Street

B-Panini Tozt Cafe- 589 First Avenue 17
C- Impress Deli Inc.- 401 East 34th Street

C
D- Estiatorio Rafina- 630 First Avenue L5
E-Cafe 650 Inc.- 650 First Avenue

L8
G
F- Pizza Pita- 344 East 34th Street 1
G-Kips Bay Delicatessen- 593 First Avenue

ast concrete H- NYU Bagels & Cafe Inc.- 587 First Avenue
D
16
L4
F
s, and
E
Bitter: L9 4 5 6 7 8
1- NYU Medical Center- 550 First Avenue

Sweet:
for a mix use 2- NYU Child Study Center- 577 First Avenue
3- NYU School of Medicine- 550 First Avenue
First Avenue, 34th Street,
Midtown Tunnel Entrances
L1 L3
4- NYU Medical Center: Rusk Institute for Rehabilitate- L5
ing.
L2
400 East 34th Street Sour:

5- NYU Langoue Medical Center- 550 First Avenue FDR Drive, East 35th Street, East 36th Street,
6- NY Medical Examiner- 520 First Avenue East 37th Street, East 38th Street, East 39th 17
7- Murray Hill Medical Group- 317 East 34th Street Street, East 40th Street and East 41st Street
N
View of Rooftop and Courtyard
Separation of Spaces Applied to Site Third Floor
Th 1/32 = 1-0
re
sh
old
of
Lim
its
Co Structure:
ns
tan
ts
Occupancy Type:
tim
uli With the structures Occupancy type and the
intentions of the thesis, it is best for the structure to The main source of inspiration
have a sense of freedom; the majority of the building is based on the daily use of the c
will consist of sitecast concrete columns and load senses, smell and taste. These s
bearing walls to be combined with two way flat slabs used on a daily bases, however,
Threshold of Limits and transfer beams. This structural system blends unnoticed because they blend int
with the sounding context of the building materials The deletion of the chemical sens
that are present in New York City; however, it still life, will present a significant differ
Threshold of Adjustment
allows for an opportunity for the exterior facade to person perceives his or her world
ollowing show an individual self expression. of this thesis development is to ex
ing connections between the use of s
Egress: Construction- 3 Hour Non Combustible,
and how it can relate to architectu
ates a Bit
Type I- A (Sprinklered) 1
grant people the ability to gain a s
ter
he building So This type of construction could use Structural
when it is not easily identifiable.
ur
Steel, Reinforced Concrete, Post tensioned Concrete
Sa Since the chemical senses inf
vo Expansive Taste: Floor Slabs, Precast Concrete Columns, Brick
ry we perceive our spaces, the area
ON
- Soft Texture Masonry Load bearing walls, or Concrete Masonry.
- Fast Growth of focus for design development
Sw This construction type allows unlimited maximum
Contracting Taste: ee
- Outward Movement connective spaces through the us
t - Creative and Relaxed height and square footage. The benefit of this
- Hard Texture
So elevation. These spaces of vertica
- Slow Growth ur
- Grows Above Soil construction is that there is an allowance for the
- Cold or Cooling the main sources of egress (the m
cenes -
-
Inward Movement
Tight and Stressed
Sa
Sa
vo
structure to have an overhang to be developed in
different sections of the floors. Since the rear portion
stairwells), as well as the connec
- Grow Below Soil lty ry exhibit spaces (that serves as the
s new - Hot or Warm
So
of the structure will be designed as a overhead roof
spaces of the top two floors).
ur top garden, the area calls for precast concrete
design columns to support the roof overhead, so that it will
allow visitors to enjoy the courtyard below.
View of Store Corner
109
Structure Plans

37
th
St
re
et
Ass
En emb
tran ly
Lo ce
bb
28 y
31
SF
1
bly
sem
3 SF
A-1
As
122
2
bly
36
sem
5 SF
A-2
As
184
th
St
Organic Food re 37
Store et th
103 St
Interactive Area
re
237
4555 SF
et
As
101
1 SF
A-3
sem
863 SF
bly
3
Exhibition Space
ue
102
Sto
556
rag
S-1
SF
e/
4897 SF
Sta
35
gin
Closet
J 1-1
g
64 SF
th
en
St
re W 36
et es th
Av
tE S
lev tr
No
Assembly
ati ee
Entrance
on t
rth
Lobby Closet
Assembly 1
2831 SF J 2'1-2
E
- 6"
A-1
59 SF
lev
1223 SF
Assembly 2 Room
7/8"
-7
A-2 J 1-3
ati
15'
36 SF
st
Assembly 3
on
A-3
Organic Food 2371 SF
Store
34
103
Interactive Area
Fir
4599 SF
101
First Floor
th
863 SF
So
N
uth 1
Exhibition Space
1/32 = 1-0 St
102 Storage/ Staging
Closet 4897 SF S-1
Ele
re 35East
J 1-1 556 SF
64 SF
v
th Elev
et
ati
Str atio
on
ee n
t
34
th
St
re
Lib
20
rary et
2
Closet
90
J 2-2
69
59 SF
SF
East Elevation
La 1/8 = 1-0
bo
rato
20 ry
Exhibition Space 45 1
52
203 SF
4497 SF
es
Restaurant 1
1462 SF
204
Site Plan N
Kitchen 1
Kitchen 2
832 SF
840 SF
K-1
K-2
1 = 60-0
Restaurant 2
1239 SF
205
Service Area
S-2
Service 297 SF
J 2-3
18
120 SF
1109 SF
North Elevation
1/8 = 1-0
Second Floor N
1/32 = 1-0
Section 1
1 = 1-0
Conference Area
303
South Elevation
1637 SF
30
fficO
es 1/8 = 1-0
27 2
91
SF
Closet
La J 3-3
bo 50 SF
rato
30 ry
34 1 2
26
SF
Closet
J 3-1
79 SF
Classroom 1 Classroom 2 Classroom 3

306 305 304
1817 SF 1778 SF 1722 SF
Service Area
S-3
297 SF
East Elevation
Section 2 1/8 = 1-0
Third Floor N
1 = 1-0
1/32 = 1-0
on of this thesis
chemical
senses are
r, they often go
nto everyday life.
nses in ones
erence on how a
rld. The purpose
explore the
f smell and taste
cture; in order to
a sense of place
nfluence how
eas that will be
nt will be the
use of vertical
ical elevation are
e main
ective space, the
he central

110
Conclusion
The development of this thesis design facilitated an investigation
based on senses that designers often are quick to overlook. Stepping
outside of the architectural realm, inspiration was able to be drawn from
Lewis Carrolls, Alices Adventures in Wonderland. The use of this literary
work allowed for the development of the project to define the use of Alices
perception of smell and taste within Wonderland, to be transformed
into a physical form. In order to achieve this task, the main source of
information derived from the original writing of this story. Going back to the
initial rendition of this work, grants readers access of a clear and specific
expression of Carrolls writing. The detailed and creative expression of
Carrolls writing was the foundation of this thesis and its objective; to design
a building that was inspired from Carrolls relationship of the senses to its
surroundings. With the application of this playful use of the senses, access
to sensory information that is often forgotten is rediscovered. Translating
this work into an architectural form allowed for an experimental exploration
of space that led people around the structure as if the visitors themselves
become the senses who are forced to interact with the different space
layouts.
Looking into different creative disciplines for inspiration has the
potential to become beneficial to the development of design. By using
Lewis Carroll as the main source of design, his writing became the voice
that served as an architectural guide throughout the thesis. By opening
up the boundaries of creativity, the results are endless; all it takes is for the
designer to look outside the box that they are familiar with and to step inside
unfamiliar waters.
111
112
113
Bibliography
Bibliography 115

114
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Experiencing Architecture Through

Chemical Sensory Perception

The Savannah College of Art and Design

Julie Rogers-Varland, Professor of Architecture, Committee Chair Date

Alexis Gregory, Professor of Architecture, Faculty Advisor Date

Charles Derby, Professor of Neuroscience at GSU, Topic Consultant Date

I would like to dedicate this book to my mother, Dorothy

Williams, whom sadly was unable to see the completion of

this book and my final weeks of my schooling. I design with

her in mind, her being my rock, foundation and my main

source of inspiration to go after my dreams with no fear in my

heart as well as a strong will in my soul.

I will also like to dedicate this book to all of my family,

friends and professors who have inspired me to continue with

my work and build on my success, even at times when I

thought it was impossible for me to continue on through the

different obstacles present in my life.

This thesis explores the combined application of

the literary work of Lewis Carrolls, Alices Adventures in

Wonderland, and the use of the chemical senses of smell

and taste, translated into an architectural language. The

thesis focus concentrates on the initial chapter, Down the

Rabbit Hole, where chemical senses become apparent and

alter the protagonists, Alice, perception of space. The use

of chemical sensory in the fiction writing provides a balance

between the whimsical and realistic aspects of smell and taste.

This balance will be developed into a physical representation

to be translated into a physical representation to be explored

in New York City; a setting as diverse Wonderland.

Chapter 1: General Architectural Principles 1

Chapter 2: Regional Analysis and Site Analysis 29

Chapter 3: Program and Quantitative Development 53

Chapter 4: Schematic Site and Building Design 63

Chapter 5: Design Development 83

Chapter 6: Design Defense 105

Experiencing Architecture Through Chemical Sensory Perception 23

At first, questioning the use of the five

early childhood, the senses are instrumental tools

exercised on a day-to-day basis. However, it is

difficult to individually identify the sense that affects

daily functions, due to the brains subconscious

perception of our interactions. The chemical senses

of smell and taste are two of the most difficult to

understand since the two are dependent on one

another. Often the use of different medias, examine

the influence of the senses to everyday life. Works

such as Lewis Carrolls, Alices Adventures in

Wonderland, allow readers to have more of an

understanding of the senses with the use of the

imagination to increase their perception through the

Since the chemical senses are utilized daily

Most people are aware of taste once

so important? Taste creates our appetites and

protects us from poisons. Taste is apparent in the

five basic groups of salty, sour, sweet, bitter and

umami. Bitter tastes cause adversity because most

you when consumed in excessive amounts; such

as medicines; they are bitter and can harm you if

there is an overdose.2 When food is placed within

the mouth, one or more tastes are present and

alerts us of vital information; if it has a salty taste

there are sodium chloride (common salt) which is

needed in your diet, if it has a sweet taste it could be