works of the sublime, by abel coenen and sascha geneste

Works of the sublime

Master thesis Landscape Architecture, Wageningen URAbel Coenen Sascha Geneste December 2014

Sublime design of the work landscape in the Hamerstraatgebied

© Wageningen University, 2014 A.B. Coenen S.S. Geneste

All rights reserved. No part of this publication may be reproduced, stored in a retrievalsystem, or transmitted, in any form or any means, electronic, mechanical, photocopying,recording or otherwise, without the prior written permission of either the authors or theWageningen University Landscape Architecture Chairgroup.

This publication is written as a final master thesis in landscape architecture by order ofthe chairgroup of Landscape Architecture at Wageningen University.

examination date17 December 2014

printed byDigigrafi, Veenendaal, The Netherlands

written byAbel CoenenMSc student Landscape Architecture [email protected]

Sascha Geneste MSc student Landscape Architecture [email protected]

supervisorir. P.A. (Paul) Roncken

examinersir. P.A. (Paul) RonckenAssistant professor Landscape Architecture, Wageningen University

ir. R. (Rudi) van EttegerAssistant professor Landscape Architecture, Wageningen University

prof.dr.ir. A. (Adri) van den BrinkProfessor Landscape Architecture, Wageningen University

Chairgroup Landscape ArchitecturePhone: +31 317 484 056Fax: +31 317 482 166E-mail: [email protected]

Postal addressPostbus 476700 AA, WageningenThe Netherlands

Visiting addressGaia (building no. 101)Droevendaalsesteeg 36708 BP, WageningenThe Netherlands

Preface

It is always fascinating to see how the landscape influences the behaviour of people. To study the behaviour of people is to determine in what way the landscape sets us free and in what way the landscape steers our actions. In this particular subject we have found our shared interest. We decided to work together on a thesis and deepen our understanding of this topic.

We have gone through moments of insanity, happiness and despair - almost as sublime as other big projects in life. We have seen badly timed illnesses, last minute holidays and never ending lunches. At the end we are tired but proud to present you our work.

We want to thank all the people that have aided us in finishing this piece of work. We are grateful for the support from our supervisor, Paul Roncken. His comments, guidance and group meetings proved to be an inspiration during our work. Then we would like to thank other persons who helped to create new perspectives: Martijn Duineveld, Margreet Leclercq of the city of Amsterdam, the organizers and speakers of the Bedrijventerrein conference 2013 and the lovely volunteers of the Historical Centre Amsterdam-Noord. Thankful we are to the people of the Hamerstraatgebied. Some we have spoken to on the street, others were kind enough to invite us in. As we analyzed them doing their work, they have watched us doing ours (and declared us insane).

Finally we would like to thank friends, family and colleagues who supported us unconditionally. They gave us the space needed to conduct this work, yet also pulled us away from our work when distraction was needed.

Abel Coenen and Sascha Geneste

i

Reader’s guide

This book consists of two separate elements: the report and a collection of five appendices, A - E. Within the report there are several references to content of the appendices, which can be found in the back of this book.

ii 7

Summary

Keywords: the sublime / landscape design / landscape experience / research by design / Hamerstraatgebied / north Amsterdam

In this research we try to find a way to incorporate the sublime into a landscape design. We use three phases to design for a sublime experience in which different approaches are tested. First, we get a grip on the working of the sublime from a designer’s position. Using basic literature of the sublime, we formulate a mechanism that explains the sublime. Besides this mechanism, we use literature to identify clues that can be used to categorize different sensations for the sublime. Chosen location for this research is the Hamerstraatgebied, a work landscape in North Amsterdam, providing different atmospheres in which we recognize the idea of the sublime. We aim for a design that uses the sublime to enhance the work experience in this area.

Every phase contains processes of analysis and design but has a different focus. In the first phase the relations between the clues and the physical landscape are explored in different design considerations. The results show diverse ideas but lack a specific focus. In the second phase the users of the area are involved. We use a questionnaire to get basic insights of the users’ behaviour and experience. Also, the personas method is used to relate this data to different user groups. Resulting designs show both an individual and a social approach, but do not necessarily touch upon the working activity. The third phase includes a rhythmanalysis of the personas providing insight on the work rhythms of these users. It results in work-adapted designs reflecting the sublime mechanism most directly.

The theory of the sublime gives space for different approaches. By exploring several of these approaches we get a progressive insight in how the sublime can be used and what analysis is needed to come to adapted design ideas. We conclude that in this area the sublime can be a valuable source for a landscape design.

iii

Samenvatting

Keywords: het sublieme / landschapsontwerp / landschapsbeleving / ontwerpend onderzoek / Hamerstraatgebied / Amsterdam-Noord

In dit onderzoek proberen we een manier te vinden om het sublieme in te zetten in een landschapsontwerp. Door middel van drie fases testen we verschillende mogelijkheden voor een ontwerp aan een sublieme ervaring. Eerst moeten we grip krijgen op de werking van het sublieme vanuit het perspectief van een ontwerper. Gebaseerd op basis literatuur over het sublieme formuleren we een mechanisme dat het sublieme uitlegt. Naast dit mechanisme identificeren we aanwijzingen in literatuur waarmee we verschillende sensaties van het sublieme kunnen categoriseren. Als locatie is het Hamerstraatgebied gekozen, een werklandschap in Amsterdam-Noord. Dit gebied heeft verschillende atmosferen waarin we het sublieme herkennen. We richten op een ontwerp waarin het sublieme de werkervaring in het gebied verrijkt.

Elke fase bevat analyse- en ontwerpprocessen maar heeft een eigen focus. In de eerste fase wordt de relatie verkend tussen de aanwijzingen en het fysieke landschap door verschillende ontwerpen. Het resultaat laat diverse ideeën zien maar mist een specifieke focus. In de tweede fase worden de gebruikers van het gebied betrokken. Om inzicht te krijgen in het gedrag en de ervaringen van gebruikers stellen we een vragenlijst op. De persona-methode gebruiken we om deze data te koppelen aan verschillende gebruikersgroepen. De ontwerpen hebben een individuele en sociale benadering maar missen nog een verbinding met het werken. In de derde fase analyseren we de werkritmes van de personas. Dit resulteert in werkgerelateerde ontwerpen waarin het mechanisme van het sublieme het meest direct naar voren komen.

De theorie over het sublieme geeft ruimte voor verschillende benaderingen. Door het testen van verschillende benaderingen krijgen we inzicht in hoe het sublieme gebruikt kan worden en welke analyses nodig zijn om tot passende ontwerpideeën te komen. We concluderen dat in dit gebied het sublieme een waardevolle bron is voor landschapsontwerp.

iv 9

i. Preface p.6ii. Reader’s guide p.7iii. Summary p.8iv. Samenvatting p.9v. Table of contents p.10

1. Introduction1.1 Fascination p.141.2 Research question p.161.3 Theoretical framework and relevance p.171.4 Research framework p.181.5 Methodology p.19References p.20

2. The everyday sublime2.1 What do we know of the sublime? p.242.2 Historical development of the idea of the sublime p.252.3 The basics of the sublime p.272.4 The representation of the sublime p.292.5 The clues for the sublime p.322.6 The mechanism tested p.332.7 The potentials of the everyday sublime p.34References p.35

3. The work landscape of the Hamerstraatgebied3.1 Introduction p.383.2 The work landscape p.393.3 Hamerstraatgebied p.403.4 Conclusions p.42References p.43

4. First phase4.1 Introduction p.464.2 Method: Map analysis and field visits p.474.3 Understanding the landscape p.484.4 Reflection on designs p.614.5 Synthesis p.644.6 Reflection on the sublime p.664.7 Conclusions p.67References p.68

Table of contentsv

5. Second phase5.1 Introduction p.725.2 Method: Questionnaire p.735.3 Deeper understanding of the users p.765.4 Method: Personas p.775.5 Reflection on designs p.145.6 Synthesis p.845.7 Reflection on the sublime p.865.8 Conclusions p.87References p.89

6. Third phase6.1 Introduction p.926.2 Method: Rhythmanalysis p.936.3 Reflections on designs p.966.4 Synthesis p.1006.5 Reflection on the sublime p.1026.6 Conclusions p.103 References p.104

7. Conclusions and discussion7.1 Conclusions on designs p.1087.2 Conclusions on the sublime p.1097.3 Discussion and recommendations p.110

vi. Literature p.112vii. Images p.115

AppendicesA - Clues for the sublime p.119B - The sublime in landscape design p.127C - A portrait of the Hamerstraatgebied p.163D - Design considerations p.177E - Questionnaire and results p.245

11

1.1 Fascination

1.2 Research question

1.3 Theoretical framework and relevance

1.4 Research framework

1.5 Methodology

References

1

Introduction

In his short film Action for the Delaware (Lamson 2011), video and performance artist William Lamson let himself float on the water surface of the Delaware River. He constructs a way to gain a new perspective for himself, and thereby also for the spectator of his film. This video image breathes serenity and estrangement at the same time. Lamson is claimed to be “building on themes of balance in nature’s sublimity, human interaction, and unpredictable experimentation” (Marty Walker Gallery 2011). A sublime view on the river landscape - intriguing, as it is simple and complex at the same time.

The spectator wonders how this is done. Then the making-of is revealed. The camera shows us a different image of the artist trying to steady on a self-made platform struggling with his balance. The platform, perfectly hidden under the water surface, is his way to make the perspective possible. It is his tool to create this sublime experience.

Our field of study, as landscape architects and designers, emphasizes on this same concept. By designing we offer people a perspective on the landscape, perfectly steered by the interventions in the landscape. Sometimes big, but more often small and subtle. A curving path, a viewing point, a facade, a remarkable tree, a sightline, a vista - all is constructed to frame the view of the spectator in the landscape.

These interventions are our tools to guide people’s experiences, just as the floating platform is William Lamson’s tool to guide his.

The aim to offer people a new perspective on their surroundings is related to offering people a new perspective on themselves. By recognition of our surroundings we also recognize where we are both physical as mental. The strong evocative power of the sublime makes it an interesting topic to study the principles behind this phenomenon.

There seems to be a paradox between the extremities of the sublime versus the plainness of the workaday. One could get the idea that the sublime experience is only possible with an experience that is segregated from our daily life. We think that the everyday aesthetics connects the sublime with the workaday landscape. By giving attention to the daily environment experience can be enhanced. In this way we can trigger the sublime in our workaday landscape. This will allow people to reconnect with their daily environment.

Fascination1.1

A landscape. A river. A man standing alone on the water surface, seemingly weightless. The river stream turns his body slowly around, constantly offering him new perspectives on the landscape. What would he experience?

15

figure 1.1: Stills from the film Action for the Delaware: providing a sublime view (top), followed by the making-of (down).

1. Introduction

It is our focus to understand how a landscape design intervention can influence this sublime experience. The simplified form of the main research question is as follows:

How can a design influence sublime experiences?

in which: • ‘design’ is our field of practice• ‘influence’ is the supposed relation

between the sublime and design• ‘sublime experiences’ provides the

theoretical framework of this research

Assuming that sublime experiences can occur at numerous places, there has to be a focus of this whole theoretical framework. We see a strong relation between characteristics of the sublime and the act of working. We consider that both concepts touch upon the human existence relating to deep emotions of individuality and identity. We wonder if this assumption is true and whether a design can influence this. Therefore we specify this research to an area where the activity of work is dominant and where we can explore the potentials of the sublime, being the Hamerstraatgebied. We specify the theoretical body of the sublime to the everyday work landscape of the Hamerstraatgebied.

The newly adapted research question is as follows:

Can design influence sublime experiences of the Hamerstraatgebied for people working in this area?

in which:• ‘design’ is our field of practice• ‘influence’ is the supposed relation

between the sublime and design• ‘sublime experiences’ provides the

theoretical framework of this research • ‘Hamerstraatgebied’ is the research

location• ‘people working in this area’ is the

object of the research

Realizing that this implies a professional and societal approach to the content too. Hence, the Hamerstraatgebied is not only of interest for science alone, but also for society and the practice of landscape architecture. Focussing on both its scientific relevance and practical relevance can make the research stronger (Beunen and Duineveld 2014).

Research question1.2

17

A lot has already been written on the sublime, with several fields contributing to the concept. Especially in the field of philosophy the work of Edmund Burke and Immanuel Kant are renowned. In the field of landscape architecture we find less contributions.

The reason for this is that the sublime is often considered as an exceptional experience, although we expect it also to occur regularly, in the everyday environments. Hence we use theory by authors from different fields including the classic works of Burke, Kant and Longinus. Based on their descriptions of the sublime we will formulate a basic mechanism that can help us to adapt their theory to the everyday work environments.

These sources, together with other literary sources, are included in another adaptation of theory, but with a different purpose. They are included in a quick scan of the literature on the sublime, resulting in what we call the clues for the sublime. The clues are presented in Appendix A and are explained in the next chapter.

Theoretical framework and relevance1.3

Both the basic mechanism and the clues are used to design for sublime experiences in the everyday work landscape.

There have been numerous books and theories written about how to create a beautiful landscape. We feel that the sublime deserves a similar amount of attention. Our research should be considered as indicative work, yet it will shed some light on the sublime and its mechanism. And, as such, it can potentially help the profession of landscape architecture to diversify its approach to design.

Longinus Burke

Basic mechanism

Everyday work landscape

Kant All sources

Clues

figure 1.2: Theoretical framework of our research.

As we are landscape architects trained on a scientific institution, we have to work with both research and design. Combining these two is characteristic for our field of study, but is not always an easy job to do. Research and design in landscape architecture can have many forms, so first we need to make clear how we position ourselves.

Research and designDesign plays a prominent role within our research. We conduct ‘research through design’, which means that design is used as a tool to find answers to a research question (Creswell 2009). Our research aims to provide an addition to landscape design theory, without writing a whole new theory. With the help of existing sources from literature, experts, project studies and design, we want to find an answer to a relevant question in the field of landscape architecture.

As the landscape can be seen as a accumulation of several processes, the data it produces are also widely varied in type. Therefore landscape architects often work with a ‘mixed approach’ to theory (Creswell 2009) which includes both qualitative and quantitative research. This mixed approach stimulates the use of triangulation.

Triangulation is a way to ensure accuracy of information by combining sources and mitigating the weaknesses of any single method or source. (Martin and Hanington 2012, p.188)

This allows us to compare different outcomes of methods to confirm a result or to deepen conclusions. A landscape design can test theories and, as such, create new

Research framework1.4

insights in these theories and the processes that occur in the landscape (Brink and Bruns 2012).

Our position as landscape architectsWe believe that a design influences people’s behaviour and experience of landscape. Lenzholzer et al. (2013) call this position the constructivist’s view. We approach design as a laboratory to test the potential effect of design interventions. By using design in this way, it will help us to formulate and test design ideas in general and apply them in a particular case. This fits the ‘experimental design study’ as described by Nijhuis and Bobbink (2012); the principles derived from the process can in turn be used as a basis to design for this case. The general principles will be applied onto the specific locality. Milburn and Brown (2003) call this the ‘experiential model’:

This process involves experiencing the consequences of specific design decisions, abstracting general principles applicable to design situations, applying general principles to specific situations, and assimilating the knowledge acquired through evaluation of the design. (Milburn and Brown 2003)

We consider the correlation between research and design not restricted to a certain phase or moment, but as a continuous interaction. Therefore, design is an integral part of our landscape architectural research process. To make sure we get to a credible outcome we need to be as conscientious and transparent as possible. Also false outcomes are considered as valuable results.

19

For this research, we group the process in three different phases (see figure 1.3). Within these phases, research and design both have an equal role: analyses, design considerations and a reflection on the sublime are combined into a coherent structure. After each phase we analyse the different outcomes which is of influence for the search of the next phase.

A design process is never as linear as a design presentation make it seem. The trouble and doubts that arise by the act of designing are always confusing and create chaos in the process. Therefore, we structured the research into three phases including design considerations which can be understood as entered pathways of which some we have never ‘walked’ up to the end. Sometimes these paths were too unfocused, too straight forward, or turned out to be a dead end. But the paths often lead us to other, seemingly better paths. Together, they form a quest to make the best fitting design.

Methodology1.5

We use several methods in order to get an answer on whether we can implement the sublime in landscape design. The methods we used are: • a literature study,• a project study,• a map analysis and field visits,• a questionnaire, • a complex description,• a personas method.

The structure of the three phases allows us to reflect upon the results and to use the outcome. Hereby the different methods do not only allow us to gather information on the sublime in design, it also gives us the ability to analyse our own research results. Thereby it not only provides new insights, but it also helps us to make it more concise.

The descriptions of these methods can be found further in this report, at the moment the method is applied.

figure 1.3: Research scheme and the position of the three design approaches within the three phases.

References

Beunen, R. and Duineveld, M. (2014) ‘Een deuk in een pakje

boter: over de wetenschappelijke impact van planning en

landschapsarchitectuur’, TOPOS (online), 24 Sept 2014,

available: http://www.toposonline.nl/2014/een-deuk-in-

een-pakje-boter-over-de-wetenschappelijke-impact-van-

planning-en-landschapsarchitectuur/ [accessed 25 Sept

2014]

Brink, A. van den and Bruns, D. (2012) ‘Strategies for

Enhancing Landscape Architecture Research’, Landscape

Research, 2012, 1-14.

Creswell, J. W. (2009) Research Design: Qualitative,

Quantitative, and Mixed Methods Approaches, 3th ed.,

Thousands Oaks: SAGE Publications, Inc...

Lenzholzer, S., Duchhart, I. and Koh, J. (2013) ‘Research

through designing in landscape architecture’, Landscape

and Urban Planning, 113, 120-127.

Martin, B. and Hanington, B. (2012) Universal Methods

of Design: 100 Ways to Research Complex Problems,

Develop Innovative Ideas, and Design Effective Solutions,

Beverly: Rockport Publishers.

Marty Walker Gallery (2011) Action for the Paiva [press

release], available: http://martywalkergallery.com/

exhibitions/2011/11/wiliam-lamson/201111_MWG_PR_

Lamson.pdf [accessed 11 September 2014].

Milburn, L.S. and Brown, R.D. (2003) ‘The relationship

between research and design in landscape architecture’,

Landscape and Urban Planning, 64, 47-66.

Nijhuis, S. and Bobbink, I. (2012) ‘Design-related research

in landscape architecture’, Design Research, 10(4),

239-257.

22.1 What do we know of the

sublime?

2.2 Historical development of the idea of the sublime

2.3 The basics of the sublime

2.4 The representation of the sublime

2.5 The clues for the sublime

2.6 The mechanism tested

2.7 The potentials of the everyday sublime

References

The everyday sublime

Our research aims at the theory of the sublime and its relation to landscape architecture.

Although the sublime is commonly known for its appearances through nature (waterfalls, clouds, mountains), it has a lot more potential. We expect that the sublime can also manifest itself in an urban setting, thereby influencing the perception of our everyday environment

We think about the different brownfield projects in which old industrial areas are being reused. Or how in cities attention is shifting from a central focus on the city centre to a multiple focus where more attention is being given to the peripheral areas which have been neglected for a long time. These areas of neglect are becoming areas of interest. Not only for

What do we know of the sublime? 2.1

landscape architects these areas of neglect are becoming areas of interest but also for entrepreneurs, governments and cultural institutions. When we look at the field of landscape architecture, but also at society in general, we see that a lot of attention is given to areas which inhabit a quality to us that is not necessarily beautiful but rather sublime.

We think everyday society can benefit from the sublime. The aesthetics of everyday life is important in how we function in our daily life (Saito 2007). This makes the sublime a relevant topic for us to research. We will try and adapt the sublime to make it easier to use in the field of landscape architecture. In the last paragraph of this chapter, we emphasize on what we consider to be the big potentials of the sublime.

figure 2.1: The sublime is commonly known for its appearances in nature.

25

The sublime is not something static. Since the creation of the theory of the sublime, it has been subject to changes in society. This has altered the understanding of the sublime through its existence. We think however that even though different times have produced different approaches on the sublime, they share common values. By discussing the works of Longinus, Burke and Kant, we use the three most important works that constitute the foundations of the idea of the sublime. For each writer, we want to understand the sublime. This allows us to get an understanding of the principles of the sublime and how we can use the theory of the sublime in another context.

Longinus: Peri HypsousLonginus is the oldest direct source for the idea of the sublime. Longinus was a first century Greek rhetorician who approached the sublime - or ‘the heightening’ - from the field of rhetorics. First of all he identified three elements that are necessary for the sublime. The sublime needs a performer, a performance and an audience to whom it is performed (Roncken 2015). By performing, the performer can bring both him and the audience into an emotional state of being that exceeds their normal state of being. By this the performance would be elevating. This elevation is defined by Longinus as being sublime. In order to explain this idea, he identified five sources of the sublime (Longinus section 8):• the power to form great conceptions,• fiery and inspiring emotions,• good use of style,• notable style,• dignified composition.

Historical development of the idea of the sublime2.2

The first two sources concern talents and as such cannot be trained. The other three are sources of the sublime emphasizing the way stories are being formulated, which can be trained. The aim of the sublime is to arouse emotions in the audience, the sublime is bewildering and irresistible (Longinus, introduction). Longinus understands that the audience will be able to see the creative process of the performer and feel deep emotions with this. According to him, the performance should leave enough space for the audience to aid in the perfection of the performance. This is the condition for the sublime to be evoked.

Burke: A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and BeautifulEdmund Burke is the first philosopher in the 18th century that pays attention to the sublime. His approach to the sublime is not the same as the sublime delineated by Longinus. One of the biggest differences is the origin of the sublime. Where Longinus talks about the performer, Burke points towards nature as the initiator of the sublime (Burke, Part II section I). He says that the audience is subject to the performance (power) of nature. According to him, the exposure to nature causes astonishment to the highest degree and admiration, reverence and respect to a lesser degree (Burke, Part II section I). However, a condition for this experience is a guaranteed safety, while sensing the full power of nature. Burke mentions several sources for the sublime, which have in common that they operate in a way similar to terror, the strongest emotion humans are capable of feeling (Burke, Part I section VII). Burke understands that, from the position of being safe, the experience of terror can lead to attraction.

26

Kant: Critique of JudgementImmanuel Kant took another approach to the sublime. According to Kant beauty could be found in objects with consistency. However, the sublime is to be found in objects which are formless (Kant §23). He sees the sublime as a feeling that leads to a “movement of the mind bound up with the judging of the object” (Kant §24, p.105). The difficulty to comprehend leads to a sublime experience (Roncken 2015). Kant further specifies the sublime into two representations. Both deal with the inability to comprehend. The mathematical sublime is about objects which seems boundless, formless or absolutely great. The understanding that an object is incomprehensible will lead to a feeling of respect for the object. It this respect that makes it sublime (Kant §27). The dynamic sublime is about objects that represent great power or a divine quality. Kant believes that the exposure to such objects leads to “courage to measure ourselves against the apparent almightiness” (Kant §28, p.125). It is this moment of comparison that is sublime. The sublime is something that resides in our mind and not outside of it (Kant §28).

EvaluationWith these three works we have covered a range of approaches for the sublime. Together, they provide us with a look into the process of the sublime. By studying the works we have a better understanding on how the origin of sublime experiences is described.

2. The everyday sublime

27The basics of the sublime2.3

With the three works of Longinus, Burke and Kant, we can define our understanding of the sublime. Based on their work we identified three important elements in the process of the sublime. All these three elements can be found in the different descriptions of the sublime. As shown in figure 2.2, the elements are: • the initiator, the trigger for the

sensation;• the process, the description of the

sensation;• the condition, the circumstances that

are needed for the process to take place.

We start with a description of who or what initiates a sublime experience. Longinus assigns this to the performer and his performance. Burke points to nature as source for the sublime. Kant instead writes about the formless object or what could be considered a concept. Here we see that Burke and Kant are more closely related to landscape while Longinus bases his idea more closely to rhetorics.

The process of the sublime show quite some similarities. All three are based on emotions that are aroused by the process

of internalizing the exposed phenomena. Longinus focuses on emotions that by intensity overshadow our regular emotions. Burke focuses on emotions based on or similar to terror, which he deems to be the strongest emotion men can have. Kant focuses on emotions triggered by the search for understanding the incomprehensible. All three are based on the sensation of emotions. Longinus and Burke focus on the intensity of these emotions while Kant focuses on the inability to understand. The last elements are the conditions. In this, the sources show a diversity. For Longinus, most important is the ability for the audience to take what is been given and give it an own interpretation. Burke sets as most important condition that the feeling of safety should be guaranteed. Kant points out that the sublime can only work when there is an inability to comprehend.

We have been able to describe how the sublime works according to three literary sources. This basic understanding of how the sublime works can be seen as a basic mechanism for the sublime.

Initiator Process Condition

Longinus performer / performance emotions sensed beyond the usual

own adaptations of the triggered emotions

Burke nature emotions based on / similar to terror

safety guaranteed

Kant formless object (concept) emotions based on incomprehension

inability to fully comprehend the situation

figure 2.2: Scheme that explains the basic mechanisms of the sublime, as stated by Longinus, Burke and Kant.

28 2. The everyday sublime

figure 2.3: Kamiokande, by Andreas Gursky.

The different elements of the basic mechanism can be found in the way we work in our everyday environment. The initiator as the environment is present. When we look at the process we see that it is mainly about emotions. Work can be a great source of emotions, e.g. jealousy between workers, uncertainty about the future or the love for a colleague. Even the different conditions can be found at thework environment, e.g. employees trying to understand the reasoning of the board, safety regulations to create a safe work environment or the inability to understand for whom people are working. We feel that the basic mechanism can be found in the work landscape and as such the work landscape has the ability to provide for a sublime experience.

29The representation of the sublime2.4

We understand the sublime as something that can be found in different places. In this paragraph we take a look at photography and architecture to present different perspectives on how the sublime could be represented. Two famous photographers are often named to produce sublime work, Andreas Gursky and Edward Burtynsky. Although they both use the same medium their work, their approaches varies a lot.

Andreas GurskyAndreas Gursky is a German photographer who is not afraid to digitally alter his images. Gursky’s photos are a reflection of hypermodern realities, where human individuals are tiny elements in the vast expanses of reality. In his pictures, he represents the dehumanizing effect of the mechanistic city (Ferguson 2008). He uses the power of alteration and the vastness of landscapes to invoke the sense of annihilation of the human in the landscape (Ohlin 2002). The photographs of Gursky give the viewer a sense of belonging and and the same time a sense of dislocation (Ferguson 2008, p.18-23). “He has been used as a prime example of the return of the sublime in contemporary art” (Nanay 2012). The sublime is here strongly related to the scale of the imaged landscapes:

The sheer scale of his photographs confront us with a contemporary sense of the sublime that engenders in us both the sense of belonging to an increasingly networked and interconnected set of of realities. (Ferguson 2008)

Edward BurtynskyThe Canadian photographer Edward Burtynsky does not use alteration in his photographs. He uses his photographs to show the industrial sublime (Loe 2011; Peeples 2011), in which landscapes are portrayed

that have to carry the burden of the pollution caused by our society.

If Burtynsky portrayed the degradation at these sites as unmitigated, we’d feel assaulted and maybe turn away; it would be just too much to absorb at once. Instead, the deft seduction of his art keeps us transfixed. While always aware of the devastated nature of what we’re viewing, we keep on looking because there’s always some visual pleasure to engage us, whether in the lyrical graphic and sculptural elements we take in from far away, or in the minute, sharp-focused details that are revealed up close. (Diehl 2006)

Where Gursky searches for the sublime in vastness of the landscape, Burtynsky often uses the dialogue to evoke the sublime. This is clearly stated by a review of Burtynsky’s photo Shipbreaking #4, Chittagong, Bangladesh, 2000:

From North America, Burtynsky traveled to Bangladesh to document the dismantling of some of the largest ships on our planet. While the exhibition includes several photographs from this thematic ensemble, I was continually drawn back to contemplate. [....] The photograph’s foreground is populated with workers, many of who stare fixedly at the viewer, setting this one photograph apart from all others in the exhibition. This work links industry and humanity in a personal, almost poignant manner as the connection made to us through gaze binds us to the worker’s plight, yet separates us at the same time through the secret relief that their plight is not ours (Loe 2011).

Burtynsky uses both the image of the ships being dismantled and the sense of worker’s plight as sources for a sublime sensation with the viewer.

One thing both photographers do is depicting people being lost in the

30

immensity of their environment. Gursky accomplishes this by deleting the human himself; Burtynsky by leaving the viewer to wonder about who created these landscapes. These two photographers show us how their work inhibits a sublime experience.

Coney IslandAnother example a bit closer to our field of landscape architecture is that of Coney Island as described by Rem Koolhaas in his book Delirious New York (1994). Coney Island has been an area of high importance for the entertainment of the masses of New

York. Around 1900 several developments lead to a resort where the people of New York could find relief from their daily life. It started as a seaside resort where people could take a bath, under the guidance of technology the bathing resort developed into the first theme parks in which society itself became the source of spectacle. The different parks were designed as if from another world, allowing them to criticize and analyse the world around it. This created a gaze, allowing people to look further beyond the limits of contemporary society. Theme park Dreamland is an example of this gaze.

figure 2.4: Shipbreaking #4, Chittagong, Bangladesh, 2000 by Edward Burtynsky.


31

Scattered across this Wonderpavement are small boys selling popcorn and peanuts, dressed as Mephistopheles to stress the Faustian nature of Dreamland’s bargain. They constitute a proto-Dadaist army: every morning their supervisor, Marie Dressler, the famous Broadway actress, instructs them in “nonsense” – meaningless, enigmatic jokes and slogans that will sow uncertainty in the crowds throughout the day. (Koolhaas 1994, p.46).

The attractions in Dreamland cover different aspects of society that can be considered sublime, such as Lilliputia, the Incubator Building and the Fall of Pompeii. The attractions show how the relief from threat or danger can be a powerful source for a sublime sensation. In this understanding, we recognize the description of Lyotard:

This lessening of a threat or a danger, provokes a kind of pleasure that is certainly not that of a positive satisfaction, but is, rather, that of relief. (Lyotard 1988, p.35).

Lilliputia is a midget city which functions as a social experiment:

Within the walls of the midget capital, the laws of conventional morality are systematically ignored, a fact advertised to attract visitors. (Koolhaas 1994, p.49)

The Incubator Building is an attraction in which premature babies are being nursed to health. At the time it was a superior building compared to the hospitals and offered the best medical care for these babies. It was a showcase of the new technology which allowed those deemed to die another chance in life.The Fall of Pompeii is an attraction in which people could see the reenactment of the volcanic eruption of the Vesuvius. A disaster was turned into an attraction.

The attractions of Dreamland show a new perspective on disturbing elements in society. Either by breaking morality, death and disaster - which can be overturned into elements of joy - the perspective allowed for a reflection on society, deeper than before.

figures 2.5 and 2.6: Photos of Dreamland on Coney Island.


The clues for the sublime2.5

To make the sublime more graspable, we focus on the emotional aspect of the sublime. We search through different texts about the sublime for indicators of emotions. These indicators we call clues for the sublime. An alphabetical list of the clues, their Dutch translation and their associated literature references is included in Appendix A. We identify more than 90 clues for the sublime. As the literature we use is limited we feel the list is far from complete. Yet the 90 clues we have form a solid body to investigate the emotions in the area.

All the clues are divided into eleven groups. These groups are based on the different aspects of the clues. The most obvious aspect of the clues is their positive or negative association. Further fine-tuning was based on their shared characteristics. An example of such shared characteristics are the clues Ambition, Desire, Lust and Passion. We consider them to be about the intense longing for something. The eleven groups of clues show the wide variety in which the sublime can manifest itself.

A - Voidness and SolitudeThis group is based on the sense of being alone.

B - Awe and SurpriseThis group is based on admiration and wanting to know more.

C - Indeterminacy and StrangenessThis group is based on not knowing on a conceptual level.

D - Excess and VastnessThis group is based on not knowing on a physical level.

E - Fear and SuspenseThis group is based on being afraid.

F - Danger and ThreatThis group is based on life danger.

G - Difficulty and SuppressionThis group is based on resistance.

H - Ecstasy and PerfectionThis group is based on being positively filled.

I - Pleasure and PrideThis group is based on positive enjoyment.

J - Reflection and Self-AwarenessThis group is based on identity of self.

K - Ambition and LustThis group is based on intense longing.

33The mechanism tested2.6

We have identified a basic mechanism for the sublime. This mechanism is very helpful in describing the basic motion of the sublime. We have also identified clues for experiences that can function as the basis for a sublime experience. Together we now have the instruments to construct the process of the sublime.

In order to know how this works in landscape design, we studied two critiques, one written by landscape researcher Elisabeth Meyer and one by landscape architect Elissa Rosenberg. In these essays both writers describe a sublime emotion raised by a landscape design. For each essay we chose to do a deeper analysis, as they are both one of the few directly discussing a sublime experience by a landscape design. According to us, it can explain well how landscapes can evoke sublime experience from a first-person perspective. We analyse the texts and reflect on whether our mechanism and clues apply to a description of the sublime experience in the landscape. The literature study on Meyer’s and Rosenberg’s texts is presented in Appendix B.

As is shown in the analysis of the essay the sublime experience of Meyer works in a way described by the basic mechanism of the sublime. She visits the area and is triggered by what she senses there. From that moment on her imagination helps her in understanding what she is actually seeing. It are these moments which give her a strong emotional feeling. For example the feeling of danger with the pollution in Gas Works Park or the feeling of abandonment with the moss gardens of Bloedel Reserve.

Rosenberg writes about how the magnitude of the Herman Miller Factory provoke a

sublime experience with the visitor. By exaggeration and reflection of the design material (trees, walls, poles), the designers evoke an experience of vastness which resembles Kant’s mathematical sublime.

Furthermore, we selected four contemporary designs in the landscape that according to us connect with the sublime. These are: Bunker 599 by RAAAF, Garden of 10000 Bridges by West 8, Star Maze by LOLA landscape architects and Trollstigen National Tourist Route by Reiulf Ramstad Arkitekter. We have the feeling that these four designs touch upon the sublime, although they do not directly aim for this experience. By analyzing the designs, we can see whether the same mechanism lead to our understanding them being possible sublime designs. The design analysis can also be found in Appendix B.

The four design projects evoke an experience in which we recall the sublime. They do this in a particular way. Bunker 599 emphasizes the closeness of the bunker versus the openness of the polder landscape, but also the contrasts between war times and current peace. The Garden of 10000 Bridges evokes a feeling of individuality and surprise. Star Maze aims at an experience of wandering and unexpected encounters. Trollstigen emphasizes on the powers of natural landscape and its contrast to the designed route.

Both the critiques and the design studies provided us with a better understanding how landscape design and principles can evoke sublime experiences in several ways. They proved that the mechanism and the clues form a helpful tool to evaluate designs.

The potentials of the everyday sublime2.7

To conclude, what can be the potential value of an everyday approach of the sublime for the field of landscape architecture and design?

Recently, Emily Brady, lecturer in human geography, wrote a book about the sublime, elaborating on The Historical Sublime in which she writes about 18th century sublime, Kantian sublime and the romantic sublime. She introduces The Contemporary Sublime, in which she focusses on the sublime in contemporary examples (Brady 2013). The last chapter describes the environmental sublime, in which she claims that the sublime still can be useful to environmental aesthetics studies, such as landscape architecture. She builds further on the interpretation by Burke, stating that the sublime is an aesthetic theory that desribes human relation to nature.

Natural objects or phenomena having qualities of great height or vastness or tremendous power which cause an intense emotional response characterized by feelings of being overwhelmed, somewhat anxious or fearful, though ultimately an experience that feels both exciting and pleasurable. (Brady 2013)

We agree with Brady on the point that the emotional response that she describes is still present in everyday life and is not a remnant of the romantic ages. Nonetheless, Brady does not really relate the sublime to the bigger picture of themes that landscape architects now deal with. Because it is such a profound emotion, we think the sublime should not only be related to natural landscapes, but to all possible interactions between landscape and humans. No, it can be related to the whole set of landscapes that landscape architects work with. We saw proof of this in the examples described

in Appendix B that, although very different in context, all try to evoke a deep emotional response to landscape.

Also, Paul Roncken, assistant professor in landscape architecture, emphasizes in his forthcoming PhD research the potentials of the sublime, stating that the sublime is of increasing relevance in dealing with current trends in landscape architecture:

To me, the rising interest into the sublime coincides with the maturation of the profession of landscape architecture as a domain that is perhaps more related to medical studies than to artistic exceptionality. [....] Landscape studies are slowly but inevitably evolving from designerly concepts to influential prospects of all inclusive, living systems. [....] Encounters with living systems obviously include sensations that will remind us of tension, torsion, stress, resilience, revenge, suspense, wonder and of crossing borders beyond comfort zones. In short, serious landscaping is in need of more appropriate aesthetic idiom to help accelerate what is already happening. The sublime is a powerful process in the way we experience our environment. We feel that landscape architecture should be able to help people in making a deeper connection with their environment. The sublime could help with his. (Roncken 2015, p.28)

This is the line of thought in which you can place our research: we are convinced that the sublime can be connected to everyday landscapes. Both the mechanism and the categorization of clues we identified help us to translate theory of the sublime into a workable concept.

References

Burke, E. (1757) A philosophical enquiry into the origins

of our ideas on the sublime and the beautiful, Cassell:

London (reprint 1990).

Diehl, C. (2006) ‘The Toxic Sublime’, Art in America,

February 2006, 118-123.

Ferguson, F. (2008) ‘Andreas Gursky and the urban age’ in

Beil, R. & Feßel, S., eds., Architecture, Ostfildern: Hatje

Cantz Verlag, 18-23.

Kant, I. (1790) Kritik der Urteilskraft, translated by Bernhard

J.H., London: MacMillan and Co. (1914).

Koolhaas, R. (1994) Delirious New York: A Retroactive

Manifesto for Manhattan, Rotterdam: 010 Publishers.

Loe, H.S. (2011) ‘Now you see it: Edward Burtynsky’s

Industrial Sublime at Weber’s Shaw Gallery’, 15

Bytes, September 2011, available: http://artistsofutah.

org/15bytes/11sep/page1.html [accessed 11 Sept 2013].

Longinus (2012) Het sublieme, ed. and trans. M. op de Coul,

Groningen: Historische Uitgeverij.

Lyotard, J.-F. (1988) ‘The Sublime and the Avant-Garde’ in

Morley, S. ed. (2010) The Sublime, Cambridge: The MIT

Press.

Meyer, E.K. (1996) ‘Seized by Sublime Sentiments’, in

Saunders, W.S., ed., Richard Haag; Bloedel Reserve and

Gas Works Park, New York: Princeton Architectural Press,

6-28.

Nanay, B. (2012) ‘The Macro and the Micro: Andreas

Gursky’s Aesthetics’, The Journal of Aesthetics and Art

Criticism, 70(1), 91-100.

Ohlin, A. (2002) ‘Andreas Gursky and the Contemporary

Sublime’, Art Journal, 61(4), 22-35.

Peeples, J. (2011) ‘Toxic sublime, imaging contaminated

landscapes’, Environmental Communication: A Journal of

Nature and Culture, 5(4), 373-392.

Roncken, P.A. (2015) Shades of sublime: landscape

experience and the idea of the sublime (unpublished) PhD

Research.

Saito, Y. (2007) Everyday Aesthetics, Oxford: Oxford

University Press.

35

33.1 Introduction

3.2 The work landscape

3.3 Hamerstraatgebied

3.4 Conclusions

References

3

The work landscape of the Hamerstraatgebied

figure 3.1: Everyday landscapes are meaningful to people.

We search for a way in which we can use the sublime to enhance our everyday landscape. The location of our research has to be significant for the everyday life of its users. In this chapter we will explain the selection of our location.

In literature, the importance of everyday landscapes is discussed. Yuriko Saito (2007, p.102) mentions how our aesthetic judgements people make every day influences the state of the world and their lives.

Everyday, people use the landscape around them. It might not attract that much of their attention, yet the everyday environment they live in plays an important role in how they perceive their surroundings. Everyday landscapes are meaningful to people. By familiarity, people are able to read the landscape and give their own interpretation. The constant exposure to the landscape makes that they are accustomed to these kinds of landscapes. This allows faster recognition of the landscape but this also means that people might not always perceive their surrounding landscape.

We belief that the everyday landscape has a profound influence on people’s view on the world. Therefore it is important for us to understand the everyday landscape in which people conduct their activities on a regular basis, such as dwelling, working and moving around. The patterns of our daily life need to happen in the landscape for it to be an everyday landscape.

Introduction3.1

39

figure 3.2: Unusual seating in Google’s Zurich Office. figure 3.3: Design for a new work environment, proposing

differnt attitudes, designed by RAAAF.

Work is such an important pattern in our daily life. In the Netherlands people spend each week in general 33.2 hours at work (SCP 2013 p.61), which is approximately one fifth of the whole week. When considering work places, we recognize many different kinds of places. Some people work in offices, others in factories; some people work in the city centres, while others work on the edges of cities. Despite these differences one third of all jobs in the Netherlands can be found at industrial areas (TU Delft, Inbo 2010, p.19). As such, these areas play an important role in how we perceive our work environment.

As a landscape that plays such a big role in how we perceive our everyday life, work landscapes receive relatively little attention concerning their spatial quality. The VROM-raad, former council of the Dutch Ministry of Housing, Spatial Planning and Environment, called work landscapes monotonous. They already mentioned that these landscapes hardly fulfil contemporary demands on spatial quality (VROM-raad 2006). Besides their possible lack of internal spatial quality, they often also lack in quality in how they are positioned in the landscape (Atelier Fryslân 2010). To

people, it is often not clear whether the work landscapes belong to the city or to the countryside (Meinsma 2004; Ool 2006). Research has shown that work landscapes belong to the most disturbing elements in the landscape according to people (Wulp et al. 2009). So this everyday work landscape is important for one third of the work population but people often do not like to be there. Instead, these are areas that people do not understand and do not want to spend time in.

As society is changing so is our approach to work. This also influences the appearance and physical design of workplaces (Meel 2000; Saval 2014). New technologies have made it possible to become more flexible when deciding where to work. People have gotten the possibility to do their work at different locations, as long as internet and power is being provided. With this new flexibility one aspect becomes more important: spatial quality (Smit 2011).

The work landscape3.2

To study the relation between work landscape and people’s experiences, we choose for a location within an urban setting with a continuous demand for work places. Therefore, we focus on a location in the Randstad area. The Randstad area shows a continued development of work locations while in the peripheral areas this development halts as these areas are demographically shrinking (Ekamper 2010, Huisman et al. 2013). We choose for a location within the city of Amsterdam because of the wide variety of work landscapes the city offers. It is the biggest city in the Netherlands and is often considered as the economic capital of the country. Amsterdam has a diverse range of work landscapes. There is a big harbour and related transshipment companies, heavy industries, creative industries, head offices of big national and international companies, retail and commercial areas, archetypical highway-related office areas, etc. The diversity of work locations and the continuing demand for work locations are main reasons to choose for Amsterdam as our research and design focus.

Within the city of Amsterdam we search for a location which now is and in the future will be used as a work landscape. The area should be of a reasonable size, between 10 and 50 hectares, which allows us to do our research and methods in a sufficient manner. If the area is too small it would be impossible to perform a good analysis of different experiences, but if the area is too big it would be not possible to make one elaborate design for the area. We made a long-list of all the work landscapes in Amsterdam that possibly fit these criteria. After this, we arranged a meeting with Margreet Leclerq, senior planner at DRO (Dienst Ruimtelijke Ordening), the office for

spatial planning of the city of Amsterdam. We talked with her to get a first exploratory insight on planning issues considering the Amsterdam work landscapes. According to her, the city deals with many business areas transforming into mixed use as a residential/working area. She sees a trend in mixing functions, but the practical difficulties that arise are abound: environmental restrictions, safety zones and a lack of tolerance between companies are conflicting factors.

This meeting, together with the structural plan for Amsterdam 2040 (Gemeente Amsterdam 2011) resulted in a short-list of the areas that, according to the city, will need to be (re-)developed the next couple of years. Because of this, you can say that these areas are for us most likely to do a research on. The areas that are part of this short-list were Hamerstraatgebied (Noord), Cruquiusweggebied (Oost), Centrale Markt (West), Schinkel (Zuid), Alfadriehoek/ Sloterdijk I (Westpoort), Amstel III (Westpoort), and Oostenburg (West).

Of the short-list of different work landscapes we chose for the Hamerstraatgebied as the most suitable location. The Hamerstraatgebied is a dynamic work landscape in north Amsterdam in the Nieuwendammerham district. It measures approximately 31 hectares and offers a diversity of work-related activities and environments. The area consisted in 2013 of approximately 2600 jobs (Gemeente Amsterdam, Bureau O+S 2013), but this number has been fluctuating rapidly, as the larger companies leave and smaller ones open. The Hamerstraatgebied is located on the northern border of the river IJ. The new Oostveer ferry connects Hamerstraatgebied directly

Hamerstraatgebied3.3

41

to the eastern part of Amsterdam. This development makes the area more part of the city’s fabric. Entering at the Johan van Hasseltweg, a filled up canal, this creates a renewed entrance of North Amsterdam. Also, in the near future, a better infrastructural connection with the city centre will be provided by the completion of the Noord/Zuidlijn underground. It is on the city’s agenda to turn Hamerstraatgebied into a mixed work/residential area, as stated in the city’s ambition for 2040 (Gemeente Amsterdam 2011). First attempts to reach this don’t go really futher than some analyses and inventories of the area (Gemeente Amsterdam, Projectbureau Noordwaarts 2010; Ibid 2012).

Recently, a new big supermarket opened its doors within the area and it was announced

that the Draka factory will leave the Hamerstraatgebied. Though assumed to be a permanent factor for the coming decades, the company of Draka was taken over by an Italian firm (Stil 2014). These events prove the dynamics in the area.

The Hamerstraatgebied offers a diversity of work environments, from former shipbuilding companies and factories, to new offices and business parks. All the different users try to find their own way in the Hamerstraatgebied. The Hamerstraatgebied is one of the few industrial areas in north Amsterdam that has not been redeveloped yet. We feel this area can use the attention for its spatial quality and thereby become an interesting and attractive area to work in.

figure 3.4: Current work landscapes in the city of Amsterdam, and the location of the Hamerstraatgebied in north Amsterdam.

3. The work landscape of the Hamerstraatgebied

We humans spend a large part of our time at work in an environment which often has been ill designed. Yet, these areas are becoming increasingly important to the everyday experience of landscape. In the Netherlands, work landscapes are subject of public debates for a long time. The physical appearance of work landscapes does not always connect with the current approach to work. We think these elements should not be seen separately; understanding the functions of a work landscape is equally important as what people demand experientially from their work environment.

We expect that these areas can benefit strongly from the inclusion of the sublime. The sublime is a theory that we expect to

Conclusions3.4

figure 3.5: Recent design intervention for a work landscape of the Achmea Campus in Apeldoorn, by ADP architecten: working

and meeting in the open air.

help understanding the qualities of the work landscape. Our hypothesis is that the sublime sensation can help to reconnect the user with the landscape.

After a quick scan of possible locations in the Amsterdam region that are expected to be redeveloped in the coming year, the Hamerstraatgebied in Amsterdam seems an ideal research case. In this area, there is a practical demand for new interventions which include the dynamics of current users and new users. The location is of appropriate size and shows a lot of diversity, which we consider as a potential source for experiences. Hence, the Hamerstraatgebied is an ideal location to test how the sublime can be implemented in a landscape design research.

Atelier Fryslân (2010) Werkend landschap, kansen voor

de verbetering van de ruimtelijke kwaliteit op en rond

bedrijventerreinen in Fryslân, Leeuwarden: Atelier Fryslân.

Ekamper, P. (2010) ‘De verstedelijking van Nederland’,

Demos, 26(9), 15-17.

Gemeente Amsterdam (2011) Structuurvisie Amsterdam

2040: Economisch Sterk en Duurzaam, Amsterdam:

Gemeente Amsterdam.

Gemeente Amsterdam: Bureau O+S (2013) Vestigingen

en werkzame personen stadsdeel Noord naar buurten,

1 januari 2013, Gemeente Amsterdam, available: http://

www.os.amsterdam.nl/popup/3403 [accessed at 22 Sep

2014].

Gemeente Amsterdam, Projectbureau Noordwaarts (2010)

Factsheet Hamerstraatgebied, Januari 2010, Gemeente

Amsterdam.


Investeringsbesluit Hamerstraatgebied, concept 28-02-

2012, Amsterdam: Gemeente Amsterdam.

Huisman, C., Jong, A. de, Duin, C. van and Stoeldraijer,

L. (2013) Regionale prognose 2013-2040, Vier grote

gemeenten blijven sterke bevolkingstrekkers, Den Haag:

PBL.

Meel, J. van (2000) The European Office, Office design and

national context, Rotterdam: 010 Publishers.

Meinsma, H.C. (2004) De logica van de lelijkheid,

ontwikkeling van bedrijventerreinen in Noord-Holland,

Alkmaar: Stichting Welstandszorg Noord-Holland.

Ool, M. van (2006) Stad noch land: De ruimtelijke

ontordening van Nederland, Rotterdam: NAi Uitgevers.

Saito, Y. (2007) Everyday Aesthetics, Oxford: Oxford

University Press.

Saval, N. (2014) Cubed, A Secret History of the Workplace,

New York: Doubleday.

SCP (2013) Met het oog op de tijd, Een blik op de

tijdsbesteding van Nederlanders, Den Haag: Sociaal en

Cultureel Planbureau.

Smit, A.J. (2012) Spatial Quality of Cultural Production

Districts, Groningen: Rijksuniveriteit Groningen.

Stil, H. (2014) ‘Draka is dood, lang leve de creatieve

industrie’, Het Parool, 3 July 2014.

TU Delft, Inbo (2010) Van bedrijventerrein naar werkmilieu,

Aanpak voor vernieuwende ontwikkelstrategieën, Delft:

TU Delft.

References

VROM-raad (2006) Werklandschappen, een regionale

strategie voor bedrijventerreinen, Advies 053, Den Haag:

VROM-raad.

Wulp, N.Y. van der, Veeneklaas, F.R. and Farjon, J.M.J.

(2009) Krassen op het landschap, Over de beleving van

storende elementen, WOt-paper 1, Wageningen: Wettelijke

Onderzoekstaken Natuur & Milieu.

43

44.1 Introduction

4.2 Method: Map analysis and field visits

4.3 Understanding the landscape

4.4 Reflection on designs

4.5 Synthesis

4.6 Reflection on the sublime

4.7 Conclusions

References

4

First phase

Introduction4.1

This research should be considered as a study on how the idea of the sublime can be used in a design for the Hamerstraatgebied. We started this by unravelling the theoretical structure of the sublime and knowing more of the area of the case of a work landscape. Now it is time to explain the first phase in which analysis, design and the sublime are all combined into a circular research process. First we use a map analysis method to gain more understanding of the area, which is followed by a series of analyses and design sketches of different places in the area. At the end of this phase we reflect upon what the designs add to our understanding of the sublime.

figure 4.1: Position of phase 1 within the research scheme.

figures 4.2: Bird’s view of the area of choice: the Hamerstraatgebied (2009).

47Method: Map analysis and field visits4.2

Map analysisIn order to get a better understanding of the Hamerstraatgebied we need to have a better look at the landscape. The ‘Wageningen approach’ to landscape learns us that the landscape’s physiological, infrastructural and social layers are often interrelated (Kerkstra and Vrijlandt 1988). A landscape analysis tries to link these layers and their interrelations. Landscape researchers Katherine Crewe and Ann Forsyth (2003) name landscape analysis one of the main approaches and theories in landscape architecture. A landscape analysis, according to them, is based in ecology, physical geography and cultural geography.

[Landscape analysts] take the often-specialized work of natural scientists and devise integrated systems that sustain natural processes and habitats, blending compatible land uses and separating incompatible ones, often preserving cultural landscapes. (Crewe and Forsyth 2003, p.45)

We use this basis for a map analysis to show the landscape’s different layers. A map analysis allows us to have an insight in the different elements of the landscape and to compare different locations. The results of this analysis are shown in the next paragraph.

Field visitsDifferent field visits allows us to understand the landscape on eye-level. By recording the environment both on photos and film we are able to document the environment other than on a map. Photos taken in the area form the basis for design interventions. A collection of photos is presented in Appendix C. Films have been made for some of the streets and because they include movement through the landscape they show a different presentation than only photos can. The films are also used in the design analysis, see paragraph 4.4.

figures 4.3: Field visits prove the diversity of the work landscape.

Understanding the landscape4.3

Development of the landscape The Hamerstraatgebied is a relatively young landscape, artificially developed by men. In 1872, the Oranjesluizen were finished, so that the direct connection with the Zuiderzee was closed off and the IJ became officially a backwater system. (Bongers 1998) During the end of the 19th century, the outer-dike areas of the estuary of the river were made land. It is a landscape that - almost accidentally - was created by damming a part of the water and filling this by digging sediment from the river. On old maps there is mention of a “dredging stash” [slipdepot]1, indicating

1 Hoekwater, W.H. (1901) ‘Polderkaart van de landen tusschen Maas en IJ’, Polderkaart van de landen tusschen Maas en IJ, Amsterdam: C.A.J. van Dishoeck, illus.

this landscape only consists of the material that was found in the estuary. For a few decades this landscape remained unused and was literally a wasteland.

First settlement was the Amsterdamsche Droogdok Maatschappij (ADM) in 1878, the shipbuilding company, and the sulphuric acid plant of Ketjen. The linear parcelling, after a design of Johan van Hasselt, gave a raster structure to this area outside the dikes, which was later called ‘Nieuwendammerham’. In the beginning of the 20th century, more companies came to north Amsterdam, at first instance all water-related but later this became more mixed. In 1908 they started digging a new

figures 4.4 - 4.11: Historical land use showing different appearances of the Hamerstraatgebied through time.

4.4 - 1838 4.5 - 1867

4.7 - 19154.6 - 1896

49

canal north of the Nieuwendammerham, shown in figure 4.7, for purpose of the ship industry, but this project has never finished. The linear canal structure in the landscape (what was later known as the Johan van Hasseltkanaal) is still recognizable.

In the meantime some smaller canal were dug and allowed the coming of more companies in the Nieuwendammerham. The Noordergasfabriek supplied energy for this part of the city (figure C.6). A coherent work landscape with the name “Hamerstraatgebied” arose. Also, the first residential site was constructed on the landside of the river dikes, according to the garden city structure by Ebenezer Howard,

shown in figure 4.7. The workers of the companies lived in the garden cities of north Amsterdam, or even further away in Edam and Volendam, and traveled to work by tram (figure C.10). (Bongers 1998)

The following decades, the area developed more and more from a river-related industrial area into a multicoloured work landscape. North and west the city of Amsterdam developed and enclosed the Hamerstraatgebied. Some parts of the landscape were intentionally left “open” (as in: unbuilt) so that it contributed to the quality of the residential neighbourhoods and formed a buffer between industry and housing. (Alberts et al. 2008)

4. First phase

4.8 - 1927 4.9 - 1934

4.11 - 19814.10 - 1957

50

When it became less relevant for companies to have a parcel with a direct connection to the river, it was decided to fill in the canals of the Nieuwendammerham, because of changing demands for location factors of companies (Bongers 1998). Between 1987 and 1995 this was done in four different phases (figures C.16 and C.17).

Nowadays many of the former industrial companies like the Kromhout engine factory have left the Hamerstraatgebied and make way for smaller companies, in particular in the creative industry. With this, the strong relation of the Hamerstraatgebied with the river was lost.

figure 4.13: Current land use of the Hamerstraatgebied and its surroundings.

figure 4.12: Functions of the Hamerstraatgebied and its

surroundings.

Hamerstraatgebied and its surroundingsThe character of the Hamerstraatgebied and its surroundings can best be explained by an analysis of the functions of the areas, the grain size of the buildings, street

4. First phase

51

figure 4.14: Current street patterns in the Hamerstraatgebied and its surroundings.

patterns, traffic intensity and connectivity, and the relation with the river.

The area is enclosed in its surroundings consisting of residential landscapes (Vogelbuurt, Vogeldorp, IJplein), recreational landscapes (Vliegenbos) but also other work landscapes (Albemarle Factory, figure C.3.4). The edge between the Hamerstraatgebied and the surrounding areas is relatively hard which can be understood as a result of historical development.

The grain size of the Hamerstraatgebied shows a lot of diversity with very large grains and very small ones. This diversity is lacking in the residential areas. This diversity makes the nieghbouring area less readable and therefore sometimes harder to understand. The same goes for the sizes of the plots; the variation if sizes makes it hard to understand whether it is public or private spaces and what the safety is of such places.

4. First phase

52

The Hamerstraatgebied consists of a few main streets, although the surrounding residential neighbourhoods have a higher density of streets2. The difference in density of streets have much to do with the difference in grain size. In the areas where people work there are larger plots, as industrial buildings often need more space. These plots are larger than those of smaller companies. The neighbourhoods surrounding the Hamerstraatgebied are dense in character, although the area has a more spatial experience.

2 data based on the Kadaster topographical maps 1:10 000, retrieved from PDOK (Publieke Diensverlening op de Kaart), available: https://www.pdok.nl/nl/producten/pdok-downloads/basis-registratie-topografie/topnl/topnl-schaal-110000 [accessed on 20 Feb 2014].

figure 4.16: Current road connections and separate bicycle paths.

The river IJ is only visible on a few spots, because of some big (private owned) company buildings. One of the most remarkable aspects of this river location is that it overlooks the specific location where cruise ships always take their turn in the IJ. These cruise ships can sometimes

figure 4.15: View on the river from the Hamerstraatgebied.

4. First phase

53

where the Meeuwenlaan and the Johan van Hasseltweg cross. During commuting times, the roads are intensively used. The Hamerstraatgebied is an area served by different modes of public transport. As long as the installation of a bridge over the IJ is yet a subject of public debate (Ilovenoord 2014), public transport overcomes the obstacle that the river can be, in several ways: ferries travel between Amsterdam Central station and both Buiksloterweg and IJplein. A new ferry line connects the Johan van Hasseltweg with the Azartplein on Java Island. Thereby creating a whole new ferry connection in the east of the city. Several busses and the future underground connect the Hamerstraatgebied with the city centre.

figure 4.17: Main traffic connections (red) and public transit (green).

be more than 600 meters high, bigger than an apartment building. The turning of the cruise ships can therefore be a spectacular event for people to view.

When looking at traffic connectivity and intensity3 , you can see that motorized traffic can access the are via the road crossing the IJ through the tunnel to the city centre. This road leads directly to the orbital motorway around Amsterdam, within five minutes. People indicated that a lot of accidents happen at the roundabout

3 data based on traffic expectation numbers of 2015 by IVV (Dienst Infrastructuur Verkeer en Vervoer), the office on infrastructure, traffic and transit of the city of Amsterdam, as found on www.verkeersprognose.amsterdam.nl

4. First phase

54

Urban structureThe urban structure can be explained by different aspects that shape this structure, including an analysis of the building functions, public-private division, and green structure.

The most dominant function (based on data of ground floor level)1, other than housing (light grey e.g. figure C.3.10) is businesses (purple). This term is a collection of all companies that have not a function as offices (yellow), retail (red, e.g. figure C.1.10), catering (yellow, e.g.

1 Gemeente Amsterdam (2014) Niet-woonfuncties (Functiekaart) [map online], available: http://maps.amsterdam.nl/functiekaart/ [accessed 20 Feb 2014].

figure 4.18: Building functions, measured on ground level.

figure C.1.9), social (green) or a vacant/unknown function (black). Most large buildings contain companies, whereas other functions are more scattered through the area. Offices and retail consist of rather new businesses; catering consists mainly of two restaurants at the waterfront; social consists of two kindergartens, disabled care and ateliers; and educational consist of a technical school (ROC), musical and music production schools. Concluding, the Hamerstraatgebied is not a monotonous work landscape with companies of one type. Instead, it offers a wide variety of

4. First phase

55

figure 4.19: Public-private division.

businesses and firms contributing to a multi-functional area. Based on our own observations, we indentify a strong division between public and private accessible lands, which is characteristic for the Hamerstraatgebied. It contains of many privately-owned parcels (dark green), that close of the accessibility of large parts of the area. There is for instance no public access to the river in the middle part of the area, because of the private land of Draka. The area, though, also contains a high amount of semi-private lands (bright green) which are privately owned and for public accessible at restricted times or conditions.

4. First phase

56

The Hamerstraatgebied consists of buildings from around 1900 till now2. Most large and old buildings are located on the riverside of the area, more north is a mixture of older and newer additions. Among the oldest buildings are the buildings of the Noordergasfabriek, Stork and Draka. North east of the area, at the Johan van Hasseltweg there are most of recent buildings located.

2 Waag Society (2014) All 9,866,539 buildings in the Netherlands, shaded according to year of construction [map online], available: http://dev.citysdk.waag.org/buildings/ [accessed 21 Feb 2014].

figure 4.21: Age of the buildings.

4. First phase

figure 4.20: The Stork buildings are among the oldest buildings in

the area.

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The green structure can be divided in grasses / herb layers, bushes and trees in different sizes. The map is based on our own observations and online aerial views. The trees are divided in small trees (1-5 meters diameter), medium trees (5-8 meters diameter) and big trees (8-10 meters diameter). Also the monumental trees are indicated on the map, based on data of the city3. The relatively young parts of the landscape do not contain any big trees, so you can only find these on main infrastructure route of the Meeuwenlaan

3 Gemeente Amsterdam (2014) Monumentale bomen en ander waardevol groen [map online], available: http://maps.amsterdam.nl/monumentaal_groen/ [accessed 21 Feb 2014].

and in the Vliegenbos park. Although at first glance it doesn’t really seem like a green landscape, the Hamerstraatgebied is filled with young small trees. Those were recently planned as a result of the cities urban renewal plans with the intention to contribute to a more positive experience of the area: “Het planten van meer en grotere bomen draagt bij aan een positievere beleving van het Hamerstraatgebied.”4 (Gemeente Amsterdam: Projectbureau Noordwaarts 2012). This proves the intention of the city to make Hamerstraatgebied a more pleasant area to be.

4 Planting more and larger trees contributes to a more positive experience of the area

figure 4.22: Green structure.

4. First phase

58

The map below shows a division between open and closed facades; ‘open’ means that the facade consists of doors and windows (measured on ground floor height), ‘closed’ means that the facade is a blind wall without any openings. Most facades open towards the street. From an eye-level point of view, this possibly contributes to experiences of safety.

The public spaces and streets can be divided in different patterns. We made a map based on observations and the use of an aerial view of the area, including the elements street (in dark red), semi-private premises (pink), parking spaces (bright pink), bicycle paths (brown), sidewalks (yellow), and green structures (green). The

streets take a large surface, but there is also a large amount of premises and parking spaces.

We noticed a large diversity in width of the different streets. These differ from about 15 meters to 28 meters. These difference are caused by the historical development of the area: some streets were former canals like the Gedempte Hamerkanaal and the Johan van Hasseltweg. There is much space for cars and streets are sided with many parking spaces, although the human scale is not really present. Other streets, like the Schaafstraat are much older and have never been a canal. These are smaller which creates atmosphere that are more pleasant to people.

figure 4.23: Building functions

4. First phase

59

figure 4.24: Street patterns with sections of three archetypal streets in the area.

Section A: Schaafstraat.

Section B: Gedempt Hamerkanaal.

Section C: Johan van Hasseltweg.

B

AC

4. First phase

60

figure 4.25: An axonometric analysis, dividing the area in lines, buildings and places.

Places

Buildings

Lines

Reflecting on the previous findings, we think the landscape can be divided into three layers of places, buildings and lines. This is roughly inspired by Kevin Lynch’s division (paths, edges, districts, nodes, landmarks) in The Image of the City on how humans read landscapes (Lynch 1960). In the scheme below, places are the areas that we have noted or that we assume that

people use to gather and meet, including parks, squares, harbours and vacant lands. Buildings indicate the architectural objects that we found were remarkable, including vacant buildings, old industrial buildings and new modern buildings. The lines are the main linear structures in the area, including routes, edges, and the waterfront.

4. First phase

61Reflection on designs4.4

Mapping and sketching experiencesThe main point in the mechanism of the sublime, as we defined it, is the process in which external phenomena cause emotions sensed beyond the usual intensity. We looked which external phenomena are present in the physical appearance of the Hamerstraatgebied. This first design phase, shown in Appendix D, started with a series of design sketches based on our own observations within the area. We walked around and looked where to locate elements that we recognize as sources for the sublime. By drawing we are able to ‘collect’ most dominant and compelling experiences. Figure D.2 shows a result of this inventory: on the map of a part of the area, we could draw the experiences and what made them. The inventory is accompanied by in-photo sketches that show the experiences on eye-level (figure D.3). Actually this reduction of landscape features is a useful way to collect information the elements that cause a certain experience.

We realize that mapping the experiences that we related already to the sublime, the clues for the sublime, could be a useful way of collecting information while doing an experience-based analysis of the area. Knowing where these experiences are located, can give us insights in the relation between experience and physical space. For two parts of the Hamerstraatgebied we made these kind of inventories (figures D.4 and D.5). Knowing that the eye-level representation is even more important than this mapping. we also worked on in-photo sketches of these same locations that emphasize on the elements that create the experience (figure D.6). One main problem with this representation is that it only shows our own interpretation. This

can only be a useful design method when we include from what point of view we approached the experience. A way to do this is to add a narrative description to the photos. The descriptions are written by us, choosing a viewpoint of someone working in the area. The descriptions should be considered indicative and only used to support the sketches.

The sketches are a first way to grasp the relation between physical landscape and an experience. A design can enhance those experience so we tried to design with several experiences on one place. This results of this test are shown in figures D.7 to D.11. Figures D.9, D10 and D.11 show again a narrative description which supports the design sketches. Another approach in this design step was to make in-photo collages of locations in the area (figure D.12 and D.13). They aim to steer the current situation into a more intensive experience. We can not say that the results in this design step directly evoke a sublime experience, we rather see them as instruments and inspiration within the whole design process. They allow us fully to explore the potentials of designing on these specific places and to find out which experiences were better to express in a spatial matter than others. Some ideas and insights from this phase are used in later phases.

First design considerationsFigure D.13 shows a more elaborate design for the location of the Spijkerhaven. Here, we sketch situation in which the experience in daytime differs from that in nighttime. This, because we notice that one main characteristic of the area was the vividness and intensive use during daytime, versus the - almost - abandonness and extensive

62

use during nighttime. We played with the addition of metal constructions in public space and light patterns in the pavement, to create a spectacular experience when it is dark. This design emphasized a changing perspective from a regular, functional work environment towards a eye-catcher at night.

But we feel that a spectacular night experience is not a structural design intervention for the area. As a contrast, we made a design in relation to the everyday work landscape in the Spijkerhaven and the intimate contact between user and material (figure D.14/4.26). This design explored further possibilities of this location. We noted that experiences can be caused by different activities and uses of the area, and that the sublime can be evokes by behaviour of people. Currently, Spijkerhaven is a location that mainly is under influence of the activity of parking cars (figure D.15). By creating new viewing points, we can offer people a new perception of the built environment they

are in. This idea resembles Burke’s idea of the sublime as a process happening when gazing at an awesome surrounding landscape while standing on a safe viewing point. In this design, the functional use (parking) which happens on ground floor level is separated from the experience happening on a heightened deck. 3D modelling (figure D.16) helps to know the shapes and experiences of different masses. Main argument to not go further with this intervention is that it does not propose a landscape in which experiences are enhanced. Instead, it introduces new experiences which is not the study of this thesis.

Designing the transition areasWe believe that one characteristic of the sublime is that of juxtaposed experiences: danger and perceived safety, openness and enclosement, tension and relief. This is a notion we got from our literature study and design study. Therefore, another design approach that we used was to map different juxtapositions in the area and especially

4. First phase

figure 4.26: Design based on the intimite contact between

user and material.

figure 4.27: Sketching of routes between locations as

elements of a new pedestrian network.

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the transitions between these locations. The transitions cause specific experiences (anxiety, difficulty, relief) that we could drawn on a map (figure D.17). In this analysis important aspects are obstacles, fences, blind walls, windows and doors. For instance, a route crossing a private land with many windows and the possibility of being seen causes an anxiety of sight; an obstructed and unclear route cause a ‘difficulty of walk’. The notion of the seen and being seen was a very new element in working with the sublime. It gave us more insight in the meaning of the accessibility of the area: inaccessibility and unclear routes cause very different experiences than understandable and clear routes. And this is actually what is so typical about this landscape: that it does not prescribe very clear rules and offers space for adventure and wandering. We analyzed how the current pedestrian network could be expanded to a more experiential-based network of small routes and semi-private passages (figure D.18). The routes between locations form all an element but can have a different meaning within this network, so they all need ask for a different design intervention (figure D.19/4.27).

This resulted in the notion that the passages could be a leading element of an intervention, for instance the two routes as shown on figure D.20: both routes are in the current situation possible to make, but it is not likely that people really use them in this way. They feel very private and unsafe. As figure D.21 shows, walking this route can be recorded on video. When connecting the clues to the frames of the video, we could analyse different experiences that are evoked while walking there, from the crossing comfort zones to sense of uncanny, fear, anxiety, surprise and relief. We

continued with the idea that a design could steer the experience of theses transitional areas. Within the videos that we shot, we chose specifically the small moments / locations in which an experience could be added. We concluded this design phase by editing the video recordings, cut in frames, in which some frames were changed into collages showing design interventions. Figure D.22 is a route through private property, where at the end of an alley a mirror is constructed on a wall. The mirror shows a reflection of the person in the alley, causing an enhanced experience of self-awareness and individuation. Figure D.23 shows a route through public land, where some workplaces of car sellers are extended outward, causing an experience of surprise and uncanny, resulting in a courtyard garden for relief and pleasure.

EvaluationAlthough this design phase provided us with more understanding in how the physical and social environment of the Hamerstraatgebied could enhance experiences that relate to the sublime, we thought that the used design were not sufficient. None of these design ideas really seem to create a sublime experience in the Hamerstraatgebied. We felt that that the interventions were to a large extent based on our ideas and experience of the place. And we felt that there was too much interpretation needed. We lacked a way to translate these ideas to the perception of others, which caused design ideas that were still somewhat unspecific. We had to know more of the actual users of the area and what could be a source for sublime experience for them, before we could argue that the interventions could really make sense.

4. First phase

Synthesis4.5

fig. Design stepSublime according to its context

Sublime according to the basic mechanisms

Sublime according to categorization of clues Design principle Interventions Experiences

Step

1

D.7

- D.1

1

[None] [None]

A B C D

Enhancing present experiences

[Various] [Various]E F G H

I J K

Step

2

D.12 [None] [None]

A B C D


Lighting, sightlines and architecture

Ambition, lust, suppressionE F G H

I J K

Step

3

D.13 Light sublime

A source for the sublime lies in the formless object (Kant): experience based on incomprehension and sensing dynamics within the environment

A B C D

Changing perspectiveMetal constructions, light patterns in the pavement

Spectacle, incomprehension, dynamics

E F G H

I J K

Step

4

D.14 Work sublime

A source for the sublime lies in the performer (Longinus): the behaviour of people in their work environment

A B C D Intimate contact between users and the materialization of their workplaces

Planting, outdoor workplaces, seating facilities, pavement

IntimacyE F G H

I J K

Step

5

D.15

- D.

16

Individual sublime

Internal process caused by perceiving the surrounding built environment from a safe viewing point (Burke)

A B C D

Changing perspective

A raised deck (first floor level) which divides the functinoal and the experiential level

Awe, surprise, wonderE F G H

I J K

Step

6

D.19

Transitional sublimeSublime lies in the performer, creating own adaptations of the triggered emotions (Longinus)

A B C D

Sketching routes between locations as elements of a new pedestrian network

Obstructions, disturbed sightlines, plantings, outdoor workplaces, seating facilities, pavement

Tension, relief, anxiety,, crossing comfort zones, uncanny, surprise, self-awareness, reflection

E F G H

I J K

Step

7

D.22

- D.

23


A B C DCreating moments of different experiences by designing a line of tension between different places

Plantings, outdoor workplaces, seating facilities, pavement


E F G H

I J K

figure 4.28: Synthesis of the design considerations of the first phase showing an evaluation of our main design products.

65




Step

1

D.7

- D.1

1

[None] [None]

A B C D


[Various] [Various]E F G H

I J K

Step

2

D.12 [None] [None]

A B C D


Lighting, sightlines and architecture

Ambition, lust, suppressionE F G H

I J K

Step

3

D.13 Light sublime

A source for the sublime lies in the formless object (Kant): experience based on incomprehension and sensing dynamics within the environment

A B C D

Changing perspectiveMetal constructions, light patterns in the pavement

Spectacle, incomprehension, dynamics

E F G H

I J K

Step

4

D.14 Work sublime


A B C D Intimate contact between users and the materialization of their workplaces

Planting, outdoor workplaces, seating facilities, pavement

IntimacyE F G H

I J K

Step

5

D.15

- D.

16

Individual sublime

Internal process caused by perceiving the surrounding built environment from a safe viewing point (Burke)

A B C D

Changing perspective

A raised deck (first floor level) which divides the functinoal and the experiential level

Awe, surprise, wonderE F G H

I J K

Step

6

D.19


A B C D

Sketching routes between locations as elements of a new pedestrian network

Obstructions, disturbed sightlines, plantings, outdoor workplaces, seating facilities, pavement


E F G H

I J K

Step

7

D.22

- D.

23


A B C DCreating moments of different experiences by designing a line of tension between different places

Plantings, outdoor workplaces, seating facilities, pavement


E F G H

I J K

65

A - Voidness and Solitude

B - Awe and Surprise

C - Indeterminacy and Strangeness

D - Excess and Vastness

E - Fear and Suspense

F - Danger and Threat

G - Difficulty and Suppression

H - Ecstasy and Perfectiion

I - Pleasure and Pride

J - Reflection and Self-Awareness

K - Ambition and Lust

4. First phase

What do the designs learn us how the sublime in the Hamerstraatgebied can be enhanced? The scheme of figure 4.28 shows a synthesis of the main design steps of this first phase of the research. Step 1 demonstrates design exercises to get more grip on designing with experiences that touch the sublime. Step 2 is the first real attempt to design for the sublime; it shows a dynamical nighttime environment in which we recall a Kantian approach: the lighting adds an experiential layer aiming to cause incomprehension with the viewer. Darkness and can be considered as a powerful source to create a sublime experience. Step 3 emphasizes an intimate relation between user and landscape by exploring the addition of workplaces in the outdoor space. You can say that this is an enhancement of the work sublime: working in the public space, presenting behaviour that is not common. The performer senses emotions triggered by his own behaviour - the sublime in this is an internally evoked experience, referring to Longinus’ description of the peri hypsous.

The next designs, shown in Step 4, recall a more individual appearance of the sublime, being an internal process like Burke described, causing awe, surprise and wonder. We think that, instead of a natural environment, the Hamerstraatgebied can

Reflection on the sublime4.6

also be a place for such awe, by simply changing perspective on the environment. Last two steps (Step 5 and 6) represent a transitional sublime: a sublime experience caused by moving from one place to another. The resulting experiences of anxiety, surprise or reflection trigger emotions with the performer himself, again recalling a Longinus approach.

Of the categorization of clues we worked most with clues from category B (Awe and Surprise), G (Difficulty and Suppression), J (Reflection and Self-Awareness). This can be explained by the fact that those categories reflect our own experiences of what we noticed in the area ourselves: difficulties to find our way while walking, but also sensing a surprisingly rich landscape. Least used categories are A (Voidness and Solitude), D (Excess and Vastness), F (Danger and Threat) and H (Ecstasy and Pleasure). Those categories are maybe the most extreme experiences in the list, and therefore hard to work with in a design.

Although the used mechanisms and categories of clues were versatile, we see that, besides the physical environment, also the people working in the area can be a rich source for a sublime design in the Hamerstraatgebied.

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Analysis proves that the Hamerstraatgebied is a diverse area and, although relatively young, it is a landscape with many own characteristics. This appearance is caused by for instance the contrasts between land and water: the area was changed from water into land by dredging the river, then back to water by digging canals, and back to land again by filling up the canals. But this appearance is also caused by the very different ages and grain sizes of the buildings, and the unclear division in public and private land - a result of the functional use of this landscape. These contrasts evoke experiences that we recognize as powerful sources for the sublime. Therefore we were able to link those experience (e.g. tension, difficulty, awe, surprise, etc.) from literature on the sublime (the clues) to specific locations in the area, a starting point for different design considerations.

What this first phase of analysing and designing learns us is that a design for the

Conclusions4.7

sublime enhances specific experiences of a location. The design results of this phase prove that this link can be made. And, although the used mechanisms and categories of clues were versatile, we see that, besides the physical environment, also the social and behavioural aspects of the area can be a rich source for a sublime design in the Hamerstraatgebied. In this phase, though, we mostly have to stick to our own observations and interpretations. They reflect mainly our own experiences, but that does not give us any indication whether this is the same for the actual user of the area. This makes the design considerations less connected with the present experience of the Hamerstraatgebied. Therefore, what is needed in the next phase is a better understanding of the users and how they perceive the work environment of the Hamerstraatgebied.

figure 4.29: The work landscape of the Hamerstraatgebied is a rich source for experiences.

References

Alberts, K., Van Dusseldorp, F. and Meinsma, H. (2008)

De Oostflank van de Noordelijke IJ-oever: Geschiedenis

en Toekomst, Amsterdam: Stichting Historisch Centrum

Amsterdam-Noord.

Bongers, W. (ed.) (1998) Nieuwendammerham, een eeuw

lang bedrijvigheid, Amsterdam: Stichting Historisch

Centrum Amsterdam-Noord.

Crewe, K. and Forsyth, A. (2003) ‘LandSCAPES: A Typology

of Approaches to Landscape Architecture’, Landscape

Journal 22:1–03.

Howard, E. (1902) Garden Cities of To-Morrow, Harvard:

Harvard University.

Ilovenoord (2014) ‘Is a bridge to North Amsterdam still

a bridge too far?’, Ilovenoord [online], 21 Feb 2014,

available: http://www.ilovenoord.com/is-a-bridge-to-

north-amsterdam-still-a-bridge-too-far/ [accessed 27 Nov

2014].

Kerkstra, K. and Vrijlandt, P. (1988) Het Landschap

van de Zandgebieden: Probleemverkenning en

Oplossingsrichting, Utrecht: Staatsbosbeheer.

Lynch, K. (1960) The Image of the City, Cambridge, MA: MIT

Press.

5.5.1 Introduction

5.2 Method: Questionnaire

5.3 Deeper understanding of the users

5.4 Method: Personas


5.6 Synthesis


5.8 Conclusions

References

5

Second phase

Starting this phase, we argue that it is important that we know the users of the Hamerstraatgebied to make a more adapted design. As we already stated before, we see the sublime as a process that occurs internally. In order to design a sublime experience we need to know for who we are designing. This means that in the case of the Hamerstraatgebied we need to know the people that use the area. In order to meet the people of the Hamerstraatgebied we have to conduct research. We want to know how people perceive the area and of there is a potential sublime in their perception.We also want to know more about how people behave and move within the area. Social sciences call this a study on mobility: Mobility, besides an infrastructural concept, is used for small-scale / local processes of daily transportation, movement through public space and the travel of material things within everyday life. It emphasizes “the importance of the systematic movements of people for work and family life, for leisure and pleasure, and for politics and protest” (Hannam et al. 2006, p.208). They say that “various analyses show how means of travel are not only ways of getting

as quickly as possible from A to B. Each means provides different experiences, performances and affordances.” (p.15)

The sublime is a term that can be understood differently by all people. In order to cope with this we used the list of clues that we previously formulated. In this way we could ask people after their experience without triggering them to think about the definition of the sublime itself.

Introduction5.1

figure 5.1: The users of the Hamerstraatgebied and their activities are a potential source for the sublime.

figure 5.1: Position of phase 2 within the research scheme.

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The most fitting method to gain this knowledge is to prepare a questionnaire. This allows us to collect “information from people about their characteristics, thought, feelings, perceptions, behaviours or attitudes” (Martin and Hanington 2012 p.140). It should however be noted that a questionnaire cannot give a description of reality in its fullest extent. “Reality [...] is much more complex than the few variables that are found in a questionnaire.” (McLean 2006, p.253). Therefore it is important to add other sources of information as advised by McLean. We feel that a questionnaire will be a good start to get to know the users better.

Preparing the questionnaireIn order to prevent a bias from our perspective, the questionnaire is formulated to be a self-administered questionnaire (McLean 2006). This means that the respondents should be able to complete the questionnaire by themselves. To be able to reflect and compare the different outcomes we choose for a closed format (Lung 2001). This also increases the potential completion of the questionnaire for the respondent. We question the respondent about 22 different clues. These clues have been selected in such way that all groups of clues are equally present.

We implement then several closed questionnaire formats, as prescribed by Lung (2001). We ask the respondents to give for each clue an indication of how often they experience it at the Hamerstraatgebied, to get an idea of which experiences are dominantly present within the target group. We use a Likert type scale (Deming and Swaffield 2011) with the range never - little - sometimes - regularly - often. We also add checklists in which people have to indicate which of the experiences

Method: Questionnaire5.2

have the biggest impact on their life, as well as which experiences they would or would not want to have in the area. These questions give us an insight in how the Hamerstraatgebied is being experienced, and what clues are important to people.

Yet, in order to get a better understanding, we also need to know where the experiences occur in the area. Because we assume it would be hard for people to point out exact locations, we make it insightful by drawing people’s behaviour within the area. We add a map to the questionnaire on which people are asked to give an indication of the different routes they use in the area, e.g. commuting or walking. Respondents are also invited to give an indication of the places they perform activities in the area, e.g. meeting, shopping and parking. These maps gives us an indication of how people move around in the area and what they possibly experience of the Hamerstraatgebied during their travels.

Finally, we need to have some personal information of the respondent. We want to know their age, where they come from and what their job is. Considering their residential situation we select a few categories for them to select from. Also we pre-select different age categories. The same type of closed questionnaire format was used for their profession; we make a list based on the job classification system of the CBS (2010) on which people are asked to choose one job category. Furthermore we ask them to label their occupation or function, according to their own description. This information gives us a general indication of the background of the different respondents. The questionnaires

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have been created in both English and Dutch and are included in Appendix E.

Filling in the questionnaireIn order to get a better understanding of the quality of the questionnaire we pilot the questionnaire. (Lung 2001) Being unable to test it with a small sample of the target group we tested the questionnaire with other students. As these students were unaware of the intention of the questionnaire we could let them complete the questionnaire without the fear of the outcome being biased.

We went to the Hamerstraat on three weekdays in order to question people there. These days were wednesday 26th of February 2014, friday 28th of February 2014 and thursday 13th of March 2014. The first two days we used to question people we met on the street. These were people arriving or leaving their work, while having a break or being at work. After these two days we had a quick scan on who completed the questionnaire. Based on this scan we found some geographical areas and job types lacking in response. Hence, for the third day we made some appointments with companies to conduct a questionnaire. These people have been interviewed indoors at their own workplace. This ensured us that response came from the whole area.

One could criticise our approach to contact a selection of companies on the third fieldwork day, as this directly influenced the results. We feel that we had to do this because the employees of some sectors are more on the street then others. If we would have only addressed respondents on the street we also would have limited the study to a certain part of the population.

ResultsAfter three days, 51 questionnaires have been completed. The 51 respondents on a total population of approximately 2618 jobs in he Hamerstraatgebied (Gemeente Amsterdam, Bureau O+S 2013) means a response of approximately 2%. We consider this to be a positive result. The 51 responses we received can be seen as a balanced part of the total work population.

There can be made a division in the results of the questionnaire. First of all there is the group of personal data. This consists of basic information of the respondents, e.g. residence, age and sector of work. These results can all be found in the figures E.7 to E.12. They give a good impression on the characteristics of the respondents.

The other set of results is the group considering the potential sublime experience in the area. The results can be seen in figures E.13 to E.15. We noticed that sometimes there seemed to be confusion of the different terms that we used in the questionnaire. Not all respondents were able to connect the terms to their own experiences. Some respondents needed extra explanation on the different questions and terms. This made that this particular part of the questionnaire is not totally self-administered but also partly administered by us. The danger hereby is that our perception of the terms bias the outcome. We tried to be as concise as possible without giving any judgement or prevalence, nevertheless we felt that this meant that we can not use the data as a trustful representation of reality. We will use the data as indicative rather than factive. The way we use this data is explained in the next paragraph.

5. Second phase

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Figure E.13 shows the different experiences that are present in the Hamerstraatgebied. The question that belongs to this result is a closed question with a Likert type scale. We think that for a sublime experience it does not matter whether it is present a lot or a little. Hence we regarded the answer of never as not experienced, while all other given answers as experienced. This may seem strange, yet we feel that if we would have given respondents only a yes or no option people could have been inclined to answer no if they experienced something only minimal. By this formulation, we also received this minor experiences. The results show that all experiences are present in the area. Some experience, for instance ambition and tension, are experienced by 94% of the respondents. While others are experienced by a smaller portion, for instance fear by 45% of the questioned.

Figure E.15 shows which experiences would have the most impact on the respondents. As respondents were asked

to indicate three experiences which as result totals to 300%. Ambition and pride are strongly indicated as experiences that would have an impact on people. Of the total of 22 experiences there are 10 experiences which less than 10% of the respondents indicate as having the most impact.

Then there are two questions in the questionnaire which we decided to skip in the results. These are questions 7 and 8 of the questionnaire. These questions were used to gain information of which experience people would (not) like to have in the Hamerstraatgebied. We however realized that we did not give the respondents the same full choice of all the selected experiences as with the other questions. When filling in the questionnaire, we received some comments on people missing experiences and we felt that the outcome of the questions would be biased by our pre-selection. Hence we felt that it would not be expedient to use the results.

figure 5.2: Word cloud of the experiences most recognized by respondents.

5. Second phase

The use of the questionnaire is not sufficient enough to get a good understanding of the use and experience in the area. As we already stated the outcome of the questionnaire is partially indicative and therefore it needs more sources before we can use it. A strategy is to do a complex description. The use of different sources also could lead to a better triangulation of the different results.

Complex descriptive strategyA complex descriptive strategy uses multiple sources to create a rich understanding of the landscape (Deming and Swaffield 2011, p.77). The questionnaire is one of the sources to conduct a complex strategy. Other sources are also needed to understand how people use and experience the area.

Because we asked people personally to complete our questionnaire we received several comments and stories of the area afterwards. People would explain in more detail what activities they did and with whom they conducted these activities. They told stories of certain events that had happened and what was memorable about them. We never actively interviewed people, yet with some people we had a longer conversation. The outcome of these conversations have been plotted on the map of figure E.20.

Besides these interviews we also conducted some research in the media. We scanned the media for articles that cover stories in our area. We used two sources for this. The first is the newspaper Het Parool which focusses on the region of Amsterdam. The second source is Noordnieuws, a small paper which covers north Amsterdam and is published by the municipality.

From these sources we learned about new developments that occurred in the area. Like the installation of the new ferry connection or the arrest of an arms merchant. The newspaper allowed us to keep up to date.

Another source of information is observation. While walking around to invite people to participate in our questionnaire, we have seen a lot of the area. The observations we have done are relate to the specific site of the Hamerstraatgebied and as such they tell us something specific about the place (Deming and Swaffield 2011). We have seen where people park their car. We noticed on which spots people tend to have a smoke. We came across several spot where people dump their garbage. Our observations tell us something about how people tend to use their area. All these sources combined with the analysis of the area give us a deeper understanding of the structure of the area and the users and their patterns. With the broad basis of knowledge we have gathered we can start to say something about the users in general.

Deeper understanding of the users5.3

figure 5.3: Comments and stories provided us with more

information than only the questionnaire results.

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The Hamerstraatgebied houses a lot of variety in users. With so much variety it becomes difficult to create the average user. If we would have made an average user we would have to be so superficial that it loses the indepth knowledge that we had gained with our complex description. In order to work with average users while keeping the complex description we needed another method.

Method descriptionWe the personas method to overcome this problem. We make use of the User Archetype persona kind (Floyd, Jones & Twidale, 2008).

Personas consolidate archetypal descriptions of user behaviour patterns into representative profiles, to humanize design focus, test scenarios, and aid design communication. (Martin and Hanington 2012).

It is important that this method focuses on user-centered design. We want to design with the sublime in which the user is very important. This method suits our design process. Personas are fictional characters which represent a group of real users with the same characteristics (Miaskiewicz and Kozar 2011). The persona has a name and a picture to represent itself. The persona is described in a narrative. The idea behind this is that the designer can relate to the persona and design for its specific needs (Cooper 1999). This is the strongest point of the persona method, focuses the design on the audience. According to Miaskiewicz and Kozar (2011, p.426) the three main benefits of the persona method are: audience focus, product requirements prioritization and audience prioritization. This suits our design process in which the experience of the users is central.

Method: Personas5.4

The personas method might trigger some questions of critique. Steve Portigal (2008) mentioned that the use of personas is a way of bypassing the study of real users. We feel however that our personas are actually based on the study of real users through the complex description. Then there is the question of stereotyping. When working with representations of reality it may happen that stereotyping will occur. This however does not need to be bad (Turner and Turner 2010). We try to stay as close to the information gained in the complex description in order to avoid stereotyping as much as possible. Albeit there is a reasonable chance stereotyping will find place. Catherine Marshall (2003) describes the danger of personas being shaped to address the perfect user. By making the persona to flexible it can be adjusted according to the wishes of the researcher. The use of data makes sure that we are not totally free in deciding what a persona might do. We are bound by the frames set through the complex description.

Based on the information we have gathered in the Hamerstraatgebied we created four personas: Abdel, Frits, Marian and Jos. Each of them represents a type of worker in the area. These four personas are built up by their different behavioural patterns. For each persona we made a fact sheet with data from the questionnaire and our own observations. The information about the personas is provided in Appendix E, figures E.21 to E.56.

Each personas uses the Hamerstraatgebied in a own specific way. We can also differentiate their preference according to their surrounding landscape:

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Abdel’s ideal work landscape is a clear and safe landscape, without disturbances or irregularities. It is situated in a close distance of Abdel’s workplace and offers a place to relax and to eat lunch. The landscape is an expression of the perfection and pride Abdel gets from his job because it emphasises the company he works for and the good work he delivers. It is place where he can meet other workers, so that it would counterbalance the solitary work that Abdel performs most of the time. To offer Abdel some more lust in his work life, the work landscape secretly reveals some lust gardens and objects that he can cherish. So that Abdel’s scope of experience is broadened and he will find more connection to the landscape he is part of.

Frits’s ideal work landscape offers space for different activities, not necessarily related to work. He wants to go there for having a lunch break, to go for a short walk, to have a meeting with a client, or to have a drink with his colleagues on a sunny friday afternoon. The landscape should evoke both interaction and self-reflection. Frits wants to meet with his colleagues but also have encounters with his neighbours or other companies. The landscape shouldn’t be too regular, but contains surpriseful elements which can be a stimulation for the creative work Frits does in his job. It is a place to meet and relax, or to recover from a hard day’s work full of tension and excitement. The landscape offers experiences of pleasure and surprise. Frits feels strongly connected to the Hamerstraatgebied and knows it very well, so this new landscape should answer to that connection. As he is an innovator and creator himself, Frits can even help to build or maintain this landscape.

Marian does not use the landscape so often. She goes from her bike or car directly into the building of the company. Her lack of connection with the landscape is somewhat assuaged by the fact that she smokes. It would be ideal if there would be a place where she could smoke and socialize with her colleagues while being sheltered from the elements. Once in a while she goes to the local gas station to collect some new cigarettes or a sandwich. The route she walks should engage her mind to give some rest from her work. It should however not obstruct her in her walk as she has a sense of functionality and does not like it when she has to do more. Furthermore it is important for Marian that the landscape is safe, especially at night.

The ideal work landscape of Jos is one that reflects the ambition of his company. This means that the environment should be a clean and representable one, with sense for perfection. If potential clients are already impressed with the environment, it will be easier to deal with them in the future. The landscape should express a certain pride that Jos expresses for his company. It is important that this attitude is reflected in the area as clients will get the idea that a powerful area inhibits powerful companies. Jos likes to take a stroll and as such it is nice to have opportunities to casually meet with people outside. These social interactions allow Jos to keep an eye on the activities that are happening, but also to spot new chances. It also could prove to be a nice place to meet with a client before visiting a local restaurant. Jos is somebody who is not going to build the landscape himself. He however has a keen eye and knows how to pull the right strings which can help maintaining the landscape.

5. Second phase

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figure 5.4: Collages of the personas’ activities and preferences.

5. Second phase

figure 5.5: Timetable of an average workday of Marian, as shown in the fact sheets of Appendix E.

Reflection on designs5.5

On the basis of the described analyses regarding personas and their behaviour, we made design sketches. The design considerations of this phase are shown in Appendix D.

Knowing the personasFirst step was to make a relation between the personas and the geographical appearance of the area. We started this analysis by an inventory on where the personas are located within the area, which is shown in figure D.24. Small circles represent a presence of a few of this persona; large circles represent a presence of intensive presence of this persona. We see that the personas are quite scattered over the area, however, there are also some clusters, for instance where Abdel (green) or Frits (yellow) is intensively present. After that, we connected the personas to the different landscape elements in the area (figure D.25). We categorized the whole landscape in 11 elements. These are divided in three groups: • The first group (linear elements):

the small street, the large street, the border of the work landscape and the waterfront.

• The second group (buildings): the industrial building, the modern building, the vacant building.

• The third group (surfaces): the harbour, the park, the square, the vacant plot.

For each element we noted what activity the personas do, compared to the other. The data for this is based on the behavioural patterns of the personas and our own observations. In this way, we are able to make an assessment on the meaning of elements of the landscape for a certain persona. For instance, to Abdel, a small street is a place for parking, working,

eating, meeting and relaxing. To Marian, a harbour is a place for strolling and relaxing. And to all personas, a vacant building is a place for no activity at all. This scheme makes clear how we define the behaviour of the personas and, moreover, the differences in behaviour between personas.

Designing for the personasKnowing this, these different relations between personas and landscapes can become a guiding principle, for examples in the design shown in figure D.26. Here you can see an analysis of a certain location, the Hoyer terrain, where the personas Frits and Jos take a main role. Jos appreciates the space for its view over the river and Frits can go there with his laptop to do some work. A grid structure of pollard willows and wooden poles strengthens the vastness of the place and emphasizes the contrast between land and water. These principles can be guiding for a masterplan of this side of the Hamerstraatgebied (figure D.27), transforming the network of inner spaces between buildings into an experiential landscape where all personas can have their own focus point. Still remains the question: can this design evoke sublime experience and how can you really guarantee that the personas will have those experiences? And is this an experience that happens while working or is it rather a tourist attraction?

We described in more detail the places in the Hamerstraatgebied focussing on the behaviour of the personas (figure D.28): where do they park their car?; how do they walk to their work?; where do the go for lunch?; what other personas do they meet? This knowledge allowed us to come up with suggestions on how to steer this behaviour (figure D.29), leading to a possible design

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intervention (figure D.30). This design arranges places according to the personas and their uses: places for lunch, wifi-zones, craftwork or meetings. What the design interventions describe is a possible work experience in public space, but of course they do not reflect on the sublime at all.

As we approach the sublime as an experience that is different to each persona, we need to know better what a sublime experience for them can be. We studied on how different designs would trigger different actions with each personas (figure D.31), leading to a resulting design in which for each persona separately a different experience is shaped. Figure D.32 shows an intervention for a pedestrian connection between buildings and upon the roofs of buildings between the Gedempt Hamerkanaal and Spijkerhaven. Here an experience of solitary is placed in contrast with an experience of collectiveness; the Spijkerhaven becomes a public square, the back alley becomes an enclosed courtyard.

Relations between personasStill, we felt that this design didn’t grasp the sublime at its full potentials. Designing a personal space is not enough to understand how the sublime experience is triggered. We felt that the personas should not be considered as separate target groups but rather as viewers and performers on the stage called landscape. The social interaction between personas can be a powerful source for a sublime experience. Therefore we introduced a new inventory on the personas which explores the relations between the personas. Each personas is considered both a spectator and an actor - someone who sees and who is seen. The scheme of figure D.33 explains how this element can affect the experience

of the personas. For example, Abdel (green) does not like to be seen when he is at work but Frits (yellow) has no problem with that and is someone who gets new ideas from viewing others and talking with other personas. This scheme is based upon the descriptions of the personas, as presented in the fact sheets. Figure D.34/5.6 then translates this inventory into principle for the appearance of the stage that the personas is in. A persona is place upon a heightened stage when he likes to see and to be seen, but is offered a lowered or enclosed space when he appreciates more privacy. The amount of heightening, lowering and enclosing spaces is presented as different options, as an input for an intervention.

This is where we see a relation with the sublime. As we approach it, the sublime is a heightened sense of being and reflection on a person’s own position. By an interaction with another persona, not necessarily

5. Second phase

figure 5.6: Design intervention based in the different stages

for different personas.

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consciously, an identity is constructed. Providing a dialogue between actors, a tension can be built which possibly leads to a sublime experience. A dialogue does not necessarily mean an conversation by words; we speak also of a dialogue when body language is used and the possibility of having an interaction (Carmona et al. 2010). The hint of being visible by others, so without an actual second actor, can already shape human behaviour:

He who is subjected to the field of visibility, and who knows it, assumes responsibility for the constraints of power; he makes them play spontaneously upon himself; he inscribes in himself the power relation in which he simultaneously plays both roles; he becomes the principle of his own subjection (Foucault, 1979: 202-203).

The environments and its actors steer our behaviour and influence the image of ourselves. How we experience the environment makes how we choose a position. We can identify several focus points in the area, guiding dialogues between personas. These focus points and visual relations are connected to personas’ preferences leading to a possible design intervention as shown in figure D.35. Here, Abdel is offered a personal space where he can work, but also can be gazed upon by the other three personas. On ground level (figure D.36) the parking spaces in the middle of the square frame the view from both sides of the square.

The most important senses for perceiving an environment are vision, audition, olfaction and tactician (Carmona et al, 2010). These are the four senses that can shape an image of our environment:• Vision (seeing) is built actively: we

search for images that we can see and

we only perceive the elements that lay within our sight. The human vision is very well developed. For a dialogue between actors, the visual sight is very important. We can recognize someone and his body language from a distance. Coming closer, facial expressions are involved.

• Audition (hearing) and olfaction (smelling), on the other hand, are passive and less developed: we only hear the sounds that are hearable, and smell the aromas that are closeby. Audition is important because we can grasp someone’s attention. Once closer, we can have a conversation and shares thoughts. Olfaction is only relevant when being real close to each other. Then, we can smell the other and pheromones can do their work.

• Last sense is the tactician (touching): direct contact with the body. We perceive with our whole body, not only our hands. Also the position of our feet and the body movement give us information where we stand. A tactile contact between people can quickly become intimate and happens only exceptionally.

Gehl (2010) describes the distances that relate to these senses. We think there are especially two distances important (figure D.37): • that of 22 meters, which is the

maximum distance to see others: then you can recognize facial expressions and dominant emotions;

• and that of 7 meters, which is the maximum distance to have a conversation and to smell and feel the other person.

Together with an inventory of movement

5. Second phase

83

of personas and the maximum distances for sensory experiences, measured from the facades of buildings (figure D.38), we can come up with design strategy for an area as the Spijkerhaven where the public space offers place for activities of all four personas. Figure D.39 shows a design based on the different distances that are important for human contact. The resulting intervention is a pattern of different functions in the area, that evoke for each persona a different experience. We found that the gazing at others and the feeling of being watched while working are powerful sources for a sublime experience in the area, because it reflects on the preferences of the personas and challenges them to step outside the regular behaviour. However, one important point of critique is that it does not necessarily include only the experiences that happen at work. Maybe the square is no place for working but rather of leisure. We can still not guarantee that, with the used analyses and this design approach, we can offer a sublime experience to the users of the Hamerstraatgebied.

Relations personas and landscapeAnother approach that we explored was that of the relation between the persona and its surrounding landscape. We saw before that the area offers strong elements and that places can have very different atmospheres if you compare them (figure D.40). The differences in atmospheres was another source for sublime experience. We proposed a route through the landscape that connects different atmospheres (figure D.41). A design for this route is based on how the personas behave and experience it. For instance, in figure D.42 we analysed the route that Frits takes everyday for commuting (both from home to work and from work to home). This route can be

described using different hinge points in which Frits’ experiences are changing. The design of this experiential route involves different highlights for the four personas and adds a new branch on this route: a pier that ends in a floating ponton as a viewing point on the river.

We are sure that this particular approach towards a sublime experience in the Hamerstraatgebied can create better experiences than focussing on the small spots. Understanding the whole landscape as a network of experiences will help us in adding or steering a sublime experience. Therefore we chose to work out one strong design intervention. This is shown in figure D.43: here, the existing harbour of the GVB ferries is the location for a waterpark in which a pier forms a main structure. The design emphasizes on an experience while walking up the pier and being surrounded by stimuli such as the ferry boats, the weather and other people. As this is a design connected to the commuting route of Frits and is a visual line of Jos’ workplace, it is focussed on giving Frits and Jos this sublime experience. You can see in figure D.44 how these sublime experiences in the surroundings can be shaped. Figure D.45 shows the view of Frits or Jos being at the ponton and figure D.46 emphasizes on the experience of entering and leaving the pier.

Also for this latter design, we doubt if it connects enough to the workers of the Hamerstraatgebied. A landscape design like this can also be implemented in a residential or natural area. To make the designs more connected to the users and their behaviour in the Hamerstraatgebied, we again should take a step deeper into the analysis of these users. This is described in the next phase.

5. Second phase




Seco

nd p

hase

Step

8

D.26

- D.

27

Individual sublimeDynamical sublime of formless concepts (Kant)

A B C D Strengthening the vastness of the place and emphasizing the contrast between land and water

A grid structure of pollard willows and wooden poles

Vastness, indeterminacy, surprise, individuation, self-awarness, ambition

E F G H

I J K

Step

9

D.30 [None]


A B C DArranges places according to the personas and their uses

Different places: for lunch, wifi-zones, craftwork or meetings

Regular work experiencesE F G H

I J K

Step

10

D.32 Work sublime


A B C DContrasting public spaces and personal workplaces

Pedestrian connection between buildings and upon the roofs of buildings

Solitary, versus collectiveness

E F G H

I J K

Step

11

D.35

- D.

36

Work sublime


A B C D Designing for dialogues between different personas by creating personal spaces and visual relations

Pockets for each persona with a heightened or lowered viewing point

Self-awareness, lust, desire, ambition, anxiety

E F G H

I J K

Step

12

D.39 Work sublime


A B C DDifferemt distances that are important for human contact

A pattern of different functions in the area, that evoke for each persona a different experience

Self-awareness, lust, desire, ambition, anxietyE F G H

I J K

Step

13

D.41

- D.

42

Transitional sublimeDynamical sublime of formless concepts (Kant)

A B C DConnecting different atmospheres/experiences in the landscape

A slow-traffic route with different atmospheres between places, addition of a pier that ends in a viewing point

Vastness, indeterminacy, surprise, individuation, self-awarness, ambition, openness, enclosement

E F G H

I J K

Step

14

D. 4

3 - D

.46


A B C D

Offering personas a spectacular experience

A waterpark with renewede quays and a pier that ends in a viewing point


E F G H

I J K

Synthesis5.6

figure 5.7: Synthesis of the design considerations of the second phase showing an evaluation of our main design products.

85




Seco

nd p

hase

Step

8

D.26

- D.

27


A B C D Strengthening the vastness of the place and emphasizing the contrast between land and water

A grid structure of pollard willows and wooden poles

Vastness, indeterminacy, surprise, individuation, self-awarness, ambition

E F G H

I J K

Step

9

D.30 [None]


A B C DArranges places according to the personas and their uses

Different places: for lunch, wifi-zones, craftwork or meetings

Regular work experiencesE F G H

I J K

Step

10

D.32 Work sublime


A B C DContrasting public spaces and personal workplaces

Pedestrian connection between buildings and upon the roofs of buildings

Solitary, versus collectiveness

E F G H

I J K

Step

11

D.35

- D.

36

Work sublime


A B C D Designing for dialogues between different personas by creating personal spaces and visual relations

Pockets for each persona with a heightened or lowered viewing point

Self-awareness, lust, desire, ambition, anxiety

E F G H

I J K

Step

12

D.39 Work sublime


A B C DDifferemt distances that are important for human contact

A pattern of different functions in the area, that evoke for each persona a different experience

Self-awareness, lust, desire, ambition, anxietyE F G H

I J K

Step

13

D.41

- D.

42

Transitional sublimeDynamical sublime of formless concepts (Kant)

A B C DConnecting different atmospheres/experiences in the landscape

A slow-traffic route with different atmospheres between places, addition of a pier that ends in a viewing point


E F G H

I J K

Step

14

D. 4

3 - D

.46


A B C D

Offering personas a spectacular experience

A waterpark with renewede quays and a pier that ends in a viewing point


E F G H

I J K

85








H - Ecstasy and Perfection




5. Second phase

Reflecting on the sublime as positioned in this research, we can see some more focussed design ideas, compared to the previous phase. Some categorizations of the clues appear more frequent than others. You can see also two movements within the design steps. Step 8, 13 and 14 show together a Kantian approach of experience, based on an individual perceiving formless concepts, processes and dynamics. In these designs, the experiences are manifested mainly in a physical or metaphorical context. Whereas Step 8 emphasizes mainly on the contrast between land and water, Step 13 and 14 try to included experiences and atmospheres in the design. Connected are clues from the categories A (Voidness and Solitude), B (Awe and Surprise) and C (Indeterminacy and Strangeness). You can say that these experiences are related to the physical environment, rather than to abstract concepts.

This is different for the designs shown in Step 9 to 12. In these designs, the behaviour of the people in their work environment is considered a source for sublime experience.

This resembles how Longinus wrote about the rhetorician and his audience getting fulfilled with deep emotions by speeches. Step 9 is a short exploration of the possibilities to assign specific places to personas. But, when analyses allowed us to describe the personas in a more specific way, we also could argue better what they would prefer and appreciate. Step 10, 11 and 12 show all different ideas of a work sublime. In these steps, clues of category I (Pleasure and Pride), J (Reflection and Self-Awareness) and K (Ambition and Lust) are dominant. This makes sense, because those experiences are possible to be manifested in a social context.

Not represented are the categories F (Danger and Threat), G (Difficulty and Suppression) and H (Ecstasy and Pleasure). An explanation for this can be that those categories are hardest to connect to an individual approach or a behavioural approach, whereas other experiences fit better within the context of individuality or performance.


87

In the previous phase we found that we had enough input from the environment to search for the sublime. However, we lacked knowledges about the user in order to make a good design that really stimulate the sublime. In this phase we spend much time to get to know the different users in the area. We got a better understanding of the influence of the environment on the personas and the influence of the different personas on each other. We learned the needs of the personas and how we could accommodate them. We got an insight in their mobility in the area. Maybe the most important of the things we have learned is what is needed to tempt them to get a sublime experience. As mentioned before, this phase has really added the focus on the user. According to the basic mechanism of the sublime this is essential. So in order to be able to design with the sublime in the Hamerstraatgebied we need to know the place and its history and the people that make use of it.

What is still lacking is our knowledge of the sublime during the act of work. We now know how people use the area and what could trigger the sublime for them. However the relationship between work and the sublime has not been fully investigated. The sublime for the personas has until now been inclusive, including other activities besides work. In the next phase we need to focus on the relationship between work of the personas and their sublime experiences. We have to be more precise in this description.

Conclusions5.8

1.

2.

3.

4.

figure 5.8: We questioned 51 users in the area (1) which can be

divided in four archetypal users: the personas (2). Each of these

users has his own behavioural patterns and experiences (3) and has

specific sublime experiences within the landscape (4).

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SAGE Publications, 252-253.

Miaskiewicz, T. and Kozar, K.A. (2011) ‘Personas and user-

central design: How can personas benefit product design

processes?’, Design Studies, 32(5), pp.417-430.

Portigal, S. (2008) ‘Persona Non Grata’, Interactions, 15(1),

72-73.

Turner, P. and Turner, S. (2010) ‘Is stereotyping inevitable

when designing with personas?’, Design Studies, 32(1),

pp.30-44.

6.6.1 Introduction

6.2 Method: Rhythmanalysis


6.4 Synthesis


6.6 Conclusions

References

6

Third phase

Introduction6.1

Getting a grip on the behaviour of the users of the Hamerstraatgebied is one thing, but the previous phase learns us that we still are not able to translate this to into a design that really interferes in the work experience of the users. It seems that there is one important link missing.

In this third phase we introduce a method to connect the sublime better to the behavioural patterns of the personas. This method is adapted into design interventions, which are evaluated on different categories. Again, at the end of this phase we reflect upon what the designs add to our understanding of the sublime. figure 6.1: Position of phase 3 within the research scheme.

figure 6.2: Inclusion of the behavioural patterns of a persona.

93Method: Rhythmanalysis6.2

When we approach the sublime as an experience happening in everyday life, it is consequently part of the behavioural patterns of everyday life. Understanding personas’ behaviour is not enough; we should also understand the patterns of this behaviour. Only then we can argue the context of a possible sublime experience and the exact moment when a persona is susceptible for a sublime experience. In the previous phase we saw that, when the patterns are not taken into account, a design intervention in the Hamerstraatgebied could be explained as a leisure-based experience. It demands a strong connection with the behavioural patterns in the area.

Rhythms in everyday lifeWhat are these patterns? For the Hamerstraatgebied, obviously, this pattern is that of working. The time personas spend in the Hamerstraatgebied is all part of this pattern: the act of work itself, but also the commuting to work, the lunch break, smoking, parking, meeting, strolling, etcetera. Theoretically this kind of pattern can be explained as a rhythm. The notion of rhythms in life and public space has been introduced by Henri Lefebvre, a French philosopher who is known for his writings on everyday life, cities and the production of space (how people use and produce space). He started his empirical theory on rhythmanalysis in the 80s and 90s, although he never had the chance to really finish the work. The theory of rhythms is rethought in his 1992 book Elements de rythmanalyse. What Lefebvre defines in this book is that rhythm is what brings time, space and energy together:

Everywhere where there is interaction between a place, a time and an expenditure of energy, there is

rhythm. Thereforea repetition (of movements, gestures, action, situations, differences);b interferences of linear processes and cyclical processes;c birth, growth, peak, then decline and end. (Lefebvre 1992, p.15)

By analyzing on rhythms, everyday life can be understood by meanings of place in relation to time and (human) activities. This kind of analysis is rather indicative than exact knowledge. That is caused by the fact that rhythms are essentially dynamic and appear as constructions to show proportions of time (Lefebvre 1992). How rhythmanalysis can be used as a source for a landscape design is not directly examined, but we expect that it can function as a valuable method for our research.

Rhythms and placesA more practical approach towards rhythmanalysis is presented by Neal Patel, researcher on sociology at the University of Chicago. He reviewed the theory of Lefebvre and related it to a more currentday method to understand spaces. In his 2012 paper If These Walls Could Talk he writes why physical spaces become meaningful to humans. Life can be explained in terms of overlapping, conflicting biological, cultural, and economic rhythms (Patel 2012). In life, he states, humans have not enough time to do everything they want to do. As Lefebvre said, every person, everything and every activity has its own time and rhythm, resulting in a situation of constantly conflicting rhythms. This conflict of rhythms Patel calls temporal dissonance. It is the result of multiple intersecting rhythms in everyday life, which is a mentally exhausting situation: a “temporally-induced mental fatigue”

94

(p.57). Work, especially, is an activity that can create a strong temporal dissonance. During work, several conflicting rhythms intersect, and influence on work rhythms. Patel describes this by an example of the work of anthropologist Hochschild who studied on the blurring distinction between work and home environments:

The work day warps its way into our leisure time, which overlaps with familial or domestic cycles - like the preparation of food, or the maintenance of vehicles - influenced, in turn by the circadian and metabolic rhythms which dictate the needs of children. For instance, Hocschild’s (1997) study of work - life balance, for example, illustrates how working adults resolve temporal dissonance by borrowing against their own circadian rhythms, but not without cost. Gwen, for example, becomes increasingly overwhelmed by the extension of her work day. She “used to work a straight eight -hour day. Now it is regularly eight and a half to nine hours, not counting the work that often spills over into life at home” (Hochschild 1997, 11). (Patel 2012, p.81)

Therefore, Patel states, humans have a need for spaces that offer a moment of renewal. Physical spaces become meaningful to us “to the extent that they reduce the temporal dissonance” (p.57). As spaces are situated at the intersection of multiple time scales, they insulate us and offer us a place to renew ourselves and our cognitive energy. He gives examples of places that can do this, naming coffee shops, bars and Polish sausage stores. Those are intermediary spaces, each with its own rhythm. The Polish sausage store, for example, is not only a place to buy food but also to have an adventure. The place is part of the nightlife rhythm: “if you have not been to the Polish stand, you have not been a night out”. At the same time it is an historical anchorpoint,

a deeply felt moment, socially significant built environments.

Rhythmanalysis as a methodWe agree with Neal Patel who argues that designing for time (by rhythmanalysis) is a new way to think about designing space and experiences in the public setting (SCAD 2012). Understanding rhythms offers new insight in the meaning of places to people. The SAGE Encyclopedia of Quantitative Research Methods gives an idea of how to involve rhythmanalysis as a method in a research:

The diversity of rhythms in practices is concealed, and the efficacy of rhythm-analysis hinges on the way the hidden aspects of the multiple strands of the social, temporal, and spatial are unraveled and grasped. This requires a close study of the details of everyday life that raises questions as to the nature of change and repetition. The analysis of repetition with modifications, but also returns that reintegrate at another level what has been surpassed, is one of the key activities of rhythmanalysis. (Pigrum 2008)

To use the rhythmanalysis as an effective method we have to express the personas’ work lives with temporal and spatial details and relations. Then, the method can work to describe a persona’s rhythm, but also to explain the meaning of places to personas.

Rhythms of the personasThe four personas in the area all perform different behaviour, with their own patterns of rhythms. Also included are the domestic rhythms and the leisure rhythms of these personas, within the circadian and metabolic rhythms. The circadian rhythm is based on constructed time of the clock; the metabolic rhythm is based on mental time of the inner body rhythms.

6. Third phase

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Figure D.47/6.3 shows the work rhythms of the four personas. This rhythm is built up on the descriptions of the personas, their behaviour and their time schedule. The size of the circles represent the weight of the activity compared to the other activities. Inside the work circle means that the activity happens at the actual workplace; outside the circle means that the activity happens outdoors. As the circles represent behavioural patterns, they should be considered as indicative images. Best way to explain the images is to explain each, as the rhythms of the four personas are all slightly different:

Abdel is a car mechanic who spends much of his working time on tinkering cars. He meets people and has lunch with his colleagues at his workplace. He travels by car and during work only goes out for a short walk.

Frits shows a more scattered image of rhythms. Desk work and working on projects are interspersed by small meetings, group meetings and some small breaks. He comes by bike and often goes out for a walk, a lunch or a coffee.

Marian spends most of her time on office working or having a meeting, lunch or coffee at her workplace. A walk or a cigarette is the only moment she goes out. She commutes by car.

Jos is often out: for a client meeting (sometimes by car), a coffee or just a walk. He does some deskwork at his workplace and has meetings with his colleagues and employees. He always travels by car.

6. Third phase

figure 6.3: Rhythms of the personas

Jos

Marian

Frits

Abdel

Reflection on designs6.3

Rhythms in the HamerstraatgebiedThe insight of the different rhythms was the starting point of a new design phase. The images of this phase are shown in Appendix D. In our understanding, a design can only evoke a sublime experience when the spectator is actively included in the landscape. Therefore it should emphasize on the user’s embodiment by sensory aspects: sight, touch and smell of the landscape. We are convinced that a source for a sublime experience can be found in the bigger elements of landscapes, e.g. wide views, strong cultural identities, high dynamical processes. A sublime design however should not strive for bigness or roughness. Instead, it should emphasize the elements that already can be found by a small gesture. For the first design of this phase, we found inspiration in the river (figure D.48): the openness and the views, the dynamics and the weather. But is also the experience of the relation between land and water, between north Amsterdam and the rest of Amsterdam, and between historical use of the river and current times. The river must be one of the strongest source for a sublime experience in the area.

This insight, together with the present rhythms of the personas, makes the GVB harbour (of the city’s ferry transit agency) the perfect setting for a sublime experience (figure D.49). The location is a result of the historical canal structure of the Hamerstraatgebied and a place for visual interplay. Now, the use and meaning of this place in the Hamerstraatgebied can be understood by unraveling its rhythms. The GVB harbour and its surroundings show a mixed pattern of rhythms (figure D.50): for Abdel the harbour is his working place; he comes there very early in the morning when the first ferries are being used. Then,

he works whole day on the boat or on land doing technical maintenance and repairing work on the ferries. Late at night, the ferries can still cause some activity in the area. Frits works and acts more west, right next to the harbour, at the Hoyer terrain. He goes out often to make a walk along the river or to have a lunch. He finds the harbour an interesting place to view. He sometimes works till late, and likes to watch the Amsterdam skyline and boats passing by. Marian and Jos both work more up north, at the workspaces of the Aambeeldstraat. This is a busy work environment because selling cars and helping clients is a busy job. They don’t go out very often but when they do they like their green work environment with the large trees.

Design with wayfindingWith this knowledge, we made a design using the basic process of wayfinding. This is a theory often used for architecture and interior design, describing the different stages of a person getting involved in an environment and the different roles of design in this (Lidwell et al. 2010). The stages are:• Orientation: the attempt to determine

one’s location, in relation to objects that may be nearby and the desired destination.

• Route decision: the selection of a course of direction to the destination.

• Route monitoring: checking to make sure that the selected route is heading towards to the destination. To help monitoring the route to the destination, breadcrumbs are provided: visual cues highlighting the path taken.

• Destination recognition: is when the destination is recognized.

This order is used as the starting point for

97

our design intervention to steer a sublime experience (figure D.51). It shows a pier where different experiential moments are designed. Because of the linear shape of the pier, the appearance of these moments can be described almost in the same linear way as the process of wayfinding: • Visual distraction from the daily

rhythm and behaviour of cycling to work by irregular pavement; it challenges to cross the line of entering. Orientation using the visual cue of the pier.

• Short moment of maximum enclosement: the hedge forms a tactile and visual portal to another atmosphere.

• A small closed space with borders of moving cattail reeds that emphasizes movement and transition from land to water, where can be decided whether to proceed the route.

• A place for intimacy with the landscape: the interplay between reeds, water and boats form a shallow spectacle.

• Entering the pier creates a connection with the dynamics of the harbour, although the wooden poles create a personal space and give shelter and perceived safety.

• Increasing tension: the pathway rises and gives more and more visual exposure; the stone surface is replaced by half-open iron grates. The route clearly heads to a destination which evokes curiosity.

• Released from the tension, the pier ends in an endless stairway to the water level; the location gives a spectacular overview. The pier ends here and is clearly recognized as the end destination.

6. Third phase

figure 6.4: First resulting design intervention

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Figure D.52 shows that the pier can be divided into different phases that create all different stimuli of the senses. Both visual, auditory, and tactile senses are stimulated in this design. The pier forms a gradient from an enclosed and personal space to an open and exposed space (figure D.53). The view at the end of the pier is dynamic because the river provides different atmospheres (figure D.54). Being at this place is therefore a constantly changing sensational experience. We see this design as a strategic intervention, a small element that can create bigger influence on the whole area. The architects of RAAAF explain the benefits of a strategic intervention:

Strategic interventions allow for future interpretations and raise the challenge for local initiatives or spontaneous use. Paradoxically, this concerns the conscious design of spontaneous interactions. Instead of pre-programming an intended use, it is more important to embrace the spontaneity and unpredictability of use. In visualizations of the strategic intervention, the designer shows possible forms of use in the awareness that, in reality, it might turn out to be used by other groups. (Rietveld et al. 2013, p.87)

The resulting design intervention of the pier and route towards the water (figure D.55/6.4) involved the rhythms of the personas. This intervention offers a new perspective on working in Hamerstraatgebied and north Amsterdam as a distinctive part of Amsterdam. A seemingly closed view on the IJ river can be opened for those who look for it. Offering a spectacular new point of view, both on the river, the skyline, but also on working activities in the Hamerstraatgebied. For Abdel, it adds an experience while being at work in the harbour and seeing someone

walking on this pier. For Frits, the route is connected to his commuting route, which he can take during a walk or a small break, and it is also visible from his workplace at the Hoyer terrain. For Jos and Marian it is closely located to their workplace and is a route they can take during lunch, a cigarette break or just a walk. The route forms a new line of tension within the current landscape. an addition to the rhythms of the workers in the Hamerstraatgebied, but also for casual passers. Therefore it is a way to escape out of the workaday life, but at the same time a surprisingly new experience of this workaday life.

Design with affordanceAnother design intervention focuses on the location of the Schaafstraat where a square is the perfect setting for a social approach to the sublime. The design is based on one place from which a story is told, just like in the 1954 film Rear Window by Alfred Hitchcock. By changing views a line of tension is developed. Here, a tension is caused not particularly by changing environments, the stage, but rather of the people, the actors on the stage: the personas. Constant changes in relations between personas causes different tensions; (secretly) watching each other causes a reflection on own behaviour. As a starting point we take the personas’ rhythms and behaviour. Because of the building’s height, the gazing can happen also from higher viewing points (figure D.56). By an analysis on how the personas gaze from the facades of buildings (figure D.57) we can have an understanding of the meaning of the space between these buildings. Together with an analysis where the different personas are located (figure D.58) this gives a rough idea of the stage on which the personas act.

6. Third phase

99

Main inspiration for a sublime experience is found in the historical shape of the location as a harbour, used for industrial transit by ships (figure D.59). The shape of waves is used as a metaphor for the water that once was at this place but also of the close presence of the IJ in the Hamerstraatgebied. The design intervention shows a representation of these waves in the public space of the Schaafstraat (figure D.60). Again, by using the different distances of 22 meters and 7 meters, we can divide the area using different social relations.

This idea has been thought over resulting in a concept for a design using petrified waves affording different actions. Affordances (figure D.61) are drawn from James Gibson’s (1986) work on visual perception and can be understood as guiding behaviour and actions by designing environment that is perceived in a way that it provokes an action. They are action possibilities that link the person and his environment. For example, the concept of affordances can be described on the basis principle of a zebra crossing:

For a driver, a zebra crossing affords cautious behavior, such as slowing down, but for a child the same zebra crossing may afford a new game. One object may offer different possibilities for action to different people. (Raab et al. 2009, p.50)

Our adaptation of the concept of affordances and petrified waves is shown in figure D.62. Different actions, fitting in the work rhythms of the personas, are represented in the landscape. The personas can use this landscape for whatever behaviour fits their work rhythm: sitting, skating, working, training or lounging. The landscape evokes an interaction between personas: the presence of one persona

6. Third phase

doing activities here (actor) is a source for an experience for the other persona who is watching (spectator). Experiences in this context can be for instance: wondering about what someone else is doing, curiosity of the work the other performs, or a delight of watching someone’s behaviour. Figure D.63 shows the resulting design intervention with a stoned surface where all kind of activities can happen.

On figure D.64/6.5 you can see how the visual interaction between personas also from within the buildings can be a source for experiences. Seeing the other personas acting can cause experiences like curiosity, agitation, loathing, delight or pleasure, depending on the activity and the personas.

figure 6.5: Second resulting design intervention.




Third

pha

se

Step

15

D.51

- D.

55

Individual work sublime

Dynamical sublime and mathematic sublime: stimulated by formless concepts processed by emotions based on incomprehension (Kant)

A B C D

Steering experiences by offering different experiential moments, followed in a linear order

Irregular pavement. performed hedge, cattail reed plantings, iron pier with stone decks and the stone surface is replaced by half-open iron grates and supported by wooden poles, stairways

Distraction, crossing comfort zones, enclosement, transition, intimacy, perceived safety, curiosity, surprise, dynamics, built-up tension, release from tension, awe

E F G H

I J K

Step

16

D.62

- D.

64

Social work sublime

Source for the sublime lies in the performer (workers) and the performance (working and activities that support working) (Longinus)

A B C DTension is caused by the personas, the actors on a the stage: constant changes in relations between personas causes different tensions; (secretly) watching each other causes a reflection on own behaviour

A pattern of stoned surface, plantings and metal constructions creates a rocky landscape in which different activities are possible

Wonder, curiosity, pride, delight, pleasure, lust, ambition, fear, tension, suspense, reflection and self-awareness

E F G H

I J K

Synthesis6.4

figure 6.6: Synthesis of the design considerations of the third phase showing an evaluation of our main design products.

101




Third

pha

se

Step

15

D.51

- D.

55

Individual work sublime

Dynamical sublime and mathematic sublime: stimulated by formless concepts processed by emotions based on incomprehension (Kant)

A B C D

Steering experiences by offering different experiential moments, followed in a linear order

Irregular pavement. performed hedge, cattail reed plantings, iron pier with stone decks and the stone surface is replaced by half-open iron grates and supported by wooden poles, stairways

Distraction, crossing comfort zones, enclosement, transition, intimacy, perceived safety, curiosity, surprise, dynamics, built-up tension, release from tension, awe

E F G H

I J K

Step

16

D.62

- D.

64

Social work sublime

Source for the sublime lies in the performer (workers) and the performance (working and activities that support working) (Longinus)

A B C DTension is caused by the personas, the actors on a the stage: constant changes in relations between personas causes different tensions; (secretly) watching each other causes a reflection on own behaviour

A pattern of stoned surface, plantings and metal constructions creates a rocky landscape in which different activities are possible

Wonder, curiosity, pride, delight, pleasure, lust, ambition, fear, tension, suspense, reflection and self-awareness

E F G H

I J K












6. Third phase

Reflecting on the basic mechanism, the sublime in this phase is presented in two contexts: Step 15 shows the individual work sublime, describing the relation between a personas and his environment in the context of working. Step 16 shows the social work sublime, describing the relation between personas in the context of working. For each appearance, we can recognize different elements of the basic mechanism.

The individual work sublime resembles Kantian approach of a dynamical and mathematic manifestation of the sublime, stimulated by sensing formless concepts processed by emotions based on incomprehension. For this design, the sensational experience that the landscape evokes are sources for different clues of the sublime. When categorizing the clues, we see a presence of the categories A (Voidness and Solitude), B (Awe and Surprise), C (Indeterminacy and Strangeness), G (Difficulty and Suppression), I (Pleasure and Pride) and J (Reflection and Self-Awareness). Those clues refer either to a unpresentable or incomprehensible


concept, for instance that of the work dynamics of the harbour, or to a wide openness, for instance that of the river.

The social work sublime resembles the approach of Longinus, stimulated within the performer (personas) and the performance (working and activities that support working). For this design, the experience is evoked by the constant changes in relations between personas, causing clues of the categories A (Voidness and Solitude), B (Awe and Surprise), E (Fear and Suspense), I (Pleasure and Pride), J (Reflection and Self-Awareness) and K (Ambition and Lust). Those clues reflect upon the performer and his performance, being within the landscape with other people around him.

Not represented are the categories D (Excess and Vastness), F (Danger and Threat) and H (Ecstasy and Perfection). An explanation for this can be that those categories are extreme experiences which are hardest to be evoked within a design intervention on this small scale.

103

In the previous phase we found that we lacked a connection between the experience of the sublime and the act of working by the personas in the area. By linking time, space and energy (or: activities and behaviour), the method of rhythmanalysis learns us more about the relation between user and landscape works. It allows us to describe places and personas in a new, almost holistic way. In this way, we were able to create designs that aim for the work rhythm, instead of a domestic rhythm or the leisure rhythm.

This is also where the sublime experience comes in. When we see it as a deep, heightened emotional state, triggered by sensational experience, we can argue that this needs an understanding of its context. We see that an experience can only be sensational when there are other, less sensational experiences present. Working turns out to be the ideal setting for a research on this, because the work rhythms of all personas are so different. Whether our designs evoke a sublime experience, can only be understood by knowing the details of the personas’ rhythms in their work.

As we concluded also in the previous chapter, these sensations can be evoked by both the physical landscape (buildings, landscape, materials) or the social landscape (behaviour, activities, dialogues gaze of and with others) (figure 6.7). The first appearance shows much relation with how Kant approached the theory of the sublime by saying it is an emotion of incomprehension; the second appearance shows more relation with the approach of Longinus who stated that the sublime is caused by the performer (personas) and their performance (working and

Conclusions6.6

activities that support working). For both approaches, the sensory experience is very important because those are the triggers by which such deep emotions are evoked. Understanding the mechanisms how these sensory experience got triggered, we could create the persona-based designs presented in this phase. We feel that the resulting designs touch more upon the basic mechanism of the sublime as presented in chapter 2, than all other design steps. Therefore, we see them as another step closer to the mystery that designing with the sublime is.

figure 6.7: Designing with two approaches: first appearance

is the persona’s relation with the physical landscape, second

is that with the social landscape.

References

Carmona, M., Tiesdell, S., Heath, T. and Oc, T. (2010) Public

Places Urban Spaces, The dimensions of urban design,

2nd ed., New York: Routledge.

Castells, M. (2010) The power of identity, 2nd ed.,

Chichester: Wiley-Blackwell.

Foucault, M. (1979) Discipline and punish. Middlesex:

Peregrine. (as cited in Crossley, N. (1993) ’The politics of

the gaze: Between Foucault and Merleau-Ponty’, Human

Studies, 16(4), pp.399-419.)

Gehl, J. (2010) Cities for people, Washington: Island Press.

Gibson, J.J. (1986) ‘The Theory of Affordances’, in Gibson,

J.J., The Ecological Approach To Visual Perception,

Hillsdale, NJ: Lawrence Erlbaum Associates, 127-143.

Raab, M., Olveira, R.F. de, and T. Heinen (2009) ‘How do

people perceive and generate options?’, Progress in Brain

Research 174, 49-59.

Rietveld, R., Rietveld, E. and Zoeteman, M. (2014) Vacancy

Studies: Experimenten & Strategische Interventies in

Architectuur / Experiments & Strategic Interventions in

Architecture, Rotterdam: nai010 publishers.

Varela, F. J., Thompson, E. et al. (1993) The Embodied Mind:

Cognitive Science and Human Experience, Massachusetts:

Massachusetts Institute of Technology.

77.1 Conclusions on designs

7.2 Conclusions on the sublime

7.3 Discussion and recommendations

7.4 Discussion

7

Conclusions and discussion

At the end of our research we are able to draw conclusions on two levels; we can draw conclusions about the designs and on the concept of sublime. We can reflect upon the degree to which the designs have evolved to incorporate the sublime and also to what extent the sublime as a mechanism can be used by landscape designers.

During the three phases we see a development of our designs. The first designs are simple sketches to explore the possibilities behind the clues. This slowly evolves into a deeper focus on the users. We see that the diversity of the clues decreases as they become tailored to the specific users in the area. In the third phase we see that the designs start to incorporate more clues. A better understanding of the different users makes that the clues can be used more adapted and specific. The sublime is linked through the users of the area with the work environment.

The design considerations of the third phase are based on our mechanism of the sublime. However, the different design purposes have led to whole different design approaches. One design focusses on the relationship between the individual users

and the landscape, whereas the other design focusses on the social interactions and behaviour between different users. Both designs show that the approach of the sublime in design has enough space to accommodate not only different designs, but also different focal points. Despite having a different approach on the sublime they still follow the basic mechanism of the sublime.

Now we can answer the research question:

Can design influence sublime experiences of the Hamerstraatgebied for people working in this area?

We are convinced that the sublime can be a powerful source for a design for the Hamerstraatgebied. However, a deep understanding of the actual users of the area and how the sublime could affect their work rhythms is crucial for this to be a valuable concept.

Conclusions on designs7.1

109

In general it can be said that, in order to design for the sublime, knowledge is needed in two fields. First it should be clear how to design for the clues. The description of the basic mechanism of the sublime is quite general and a profound understanding of the relationship between the clues and possible design interventions can lead to a benefit in designing for a specific emotional trigger. Secondly it is very important to have a clear idea about the end user of the design. The sublime is a very personal process, so the better one knows the end user, the more precise one can be in the design. Only with a good understanding of the end user it is possible to properly indicate the emotions that are able to trigger the sublime experience. Without knowledge of both it is impossible to design with the sublime. When neglecting the exploration of the clues, it is likely to lead to designs that are limited in scope. Besides, when the end user has not been investigated thoroughly, the sublime could be related to the experience of the designer instead of the end user.

This research has given a basic perspective on how the sublime works. Together with the list of clues, which have proven to be a clear indication of possible triggers for

Conclusions on the sublime7.2

the sublime, the sublime has become more practical to work with. By using both the mechanism and the clues we feel that designing for a sublime experience has become more accessible. Although the outcome can still be very diverse between different approaches of the sublime, we minimize the uncertainties concerning designing with such a complex concept by providing insight in the proces.

We have also seen that the sublime is a concept that can function in a work environment. The three elements, the initiator, the process and the condition can be found in the work environment. The initiator could be the activities at the IJ or other people working in the Hamerstraatgebied. The process can be seen in the different emotions that are being evoked by the landscape and its users. The condition is represented by the unknown function of the landscape which links to the Kantian incomprehension. So the sublime is something that can be found within the everyday environment of work. As such, the sublime is not exclusive to unique environments but has a value for landscape design in general.

We consider this research has shown some effort in demystifying the works of the sublime. By analyzing descriptions of others and different designs we have shown how our description of the sublime can be useful in different ways. The resulting designs show this as well, with each having a totally different approach. We consider this an important aspect of our findings. The sublime is a process which is heavily dependent on the public and, as such, the theory should also be flexible enough to cope with this. The basic mechanism we use allows this flexibility while still retaining its process. The field of landscape architecture can make use of this basic mechanism in their designs. The more often such an approach is being conducted, the faster the process can be.

A difficulty in our research is the limited communication with the real users in the area and their feedback on our work. In order to overcome this limitation we use the personas method. The personas are based on information that we gathered from the area and its users. However, this method relies strongly on our personal interpretations of these users. For that

reason we have been as transparent as possible in this report to give others insight in the way we formulated these personas. For our research it is not of major importance that the users are factual but that the designs trigger something with the users, whether factual or fictional. By being as clear as possible on how the personas experience a design we hope readers will get to the same conclusions as we did. To avoid this in future research, it is important to get a clear idea who the end users are going to be. Framing these actual users into a persona, more interviews and methods can be used to get a better understanding of their experience of the landscape they live in.

We expect the personas method to generate comments that argue that the method is using stereotypes. In a way we aknowledge this reasoning. When creating personas, it is impossible to rule out all forms of generalisation and assumptions. We hope the readers will understand in what way data was used to shape the different personas. We also expect comments on the gender or ethnic background of the described personas.

Discussion and recommendations7.3

111

However, our observations learned us that these personas represent actual users in the Hamerstraatgebied. For instance, in the area the majority of car mechanics is of a non-native background. Without this knowledge it might seem a denigratory choice to select a Moroccan car mechanic, yet this profile reflects a majority of users. To overcome this kind of comment, a thorough socio-cultural study of the users in the area is needed.

We feel that we have shed some light on a process that, at first instance, seemed to be a black box. More research is needed in order to give the designer more control over the sublime. The basic mechanism as we have identified seems to work as a way to understand the important elements of a sublime experience. However, the clues did help us in exploring the possibilities in the design. The collection and implementation of clues, however, could deserve an in-depth study on its own. Not only can help this to be more precise which clues there are, but also to steer their design implications. A better understanding of the clues and their design implications will consequentally lead to more precise

7. Conclusions and discussion

designs with the sublime. This can be a useful aim for another research.

Another recommendation for further research will be to extent the phases. In our research we have gone through three phases. Phase one indicates the exploration of the design limits of the clues. Phase two indicates the understanding of the different end users. Phase three indicates how different clues work with the end users. In our research, we see this as a sufficient amount of phases. However, if we want to use this technique in designing a real landscape it can be better to add more phases. In an extra phase, for instance, it could be tested whether the design really triggers a sublime experience with the end users. To know this, people can be interviewed to see if they recognize themselves in the analyses and design interventions presented. This extra phase could also be ascribed to implementation of the designs. By analyzing reactions of the end users, the landscape can be adapted and optimized for a sublime experience




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Appendix A

Abel Coenen Sascha Geneste December 2014

Clues for the sublime

A - Clues for the sublime p.119B - The sublime in landscape design p.127C - A portrait of the Hamerstraatgebied p.163D - Design considerations p.177E - Questionnaire and results p.245

Appendix D


Design considerations

Appendices

Appendix C


A portrait of the Hamerstraatgebied

Appendix B


The sublime in landscape design

Appendix EAppendix E


Questionnaire and results

117

Appendix A



IntroductionA.1

An alphabetical list of the clues, their Dutch translation and their associated literature references is included in this appendix.

We lettered the groups alphabetically with no intended specific order. The groups are named after two of the two clues most characteristic for the group.

A - Voidness and SolitudeThis group is based on the sense of being alone.

B - Awe and SurpriseThis group is based on admiration and wanting to know more.

C - Indeterminacy and StrangenessThis group is based on not knowing on a conceptual level.

D - Excess and VastnessThis group is based on not knowing on a physical level.

E - Fear and SuspenseThis group is based on being afraid.

F - Danger and ThreatThis group is based on life danger.

G - Difficulty and SuppressionThis group is based on resistance.

H - Ecstasy and PerfectionThis group is based on being filled with positive emotion.

I - Pleasure and PrideThis group is based on positive enjoyment.

J - Reflection and Self-AwarenessThis group is based on identity of self.

K - Ambition and LustThis group is based on intense longing.

121

What? (EN) Wat? (NL) Who?


Abandonment Verlatenheid Nietsche 1872 (in: Morley 2010)

Void(ness) Leegte Morley 2010

Solitude Eenzaamheid Burke 1757


Admiration Bewondering Lyotard 1988

Astonishment Verbijstering Burke 1757

Awe Ontzag Burke 1757

Crossing comfort zones

Overschrijden van comfort zone

Roncken 2013

Curiosity (or: Novelty)

Nieuwsgierigheid Burke 1757

Surprise Verrassing Lyotard 1988

Wonder Verwondering Roncken 2013


Incomprehension Niet te bevatten Kant 1790

Indeterminacy Onbepaald Kant 1790 (in: Morley 2010)

Lyotard 1988 (in: Morley 2010)

Obscurity Onduidelijkheid Fletcher 1964 (in: Hertz 1985)

Otherness Het andere (bijv. goddelijke)

Schopenhauer 1819 (in: Morley 2010)

Strange(ness) Vreemdheid Morley 2010

Torsion Verwrongenheid Roncken 2013

Uncanny Ongemakkelijk Freud 1919

Undecidable Onbeslisbaar Kant 1790 (in: Morley 2010)

Unknown Onbekend Longinus 1867 (in: Morley 2010)

List of cluesA.2

122



Bigness Grootsheid Koolhaas e.a. 1995

Dystopia Distopie Roncken 2013

Excess Overdaad Kant 1790 (in: Morley 2010)

Immensity Onmetelijkheid Morley 2010

Incommensurable Onvergelijkbaar Lacoue-Labarthe (in: Morley 2010)

Ineffable Onnoembaar Shaw 2006

Magnitude Omvang Burke 1757

Kant 1790 (in: Shaw 2006)

Hertz 1985

Rosenblum 1961

Unpresentable Onpresenteerbaar Kant 1790 (in: Morley 2010)

Vastness Uitgestrektheid Burke 1757


Agitation Zich ergeren Lyotard 1988

Anxiety Nerveusiteit Lyotard 1988

Depression Depressie Lyotard 1988

Displeasure Ongenoegen Kant 1790

Fear(ful) Angst Burke 1757 (in: Morley 2010)

Horror Verschrikking Burke 1757

Roncken 2013

Loathing Afkeer Burke 1757

Revenge Wraak Roncken 2013

Stress Stress Roncken 2013

Suspense In spanning afwachten Roncken 2013

Tension Gespannenheid Lyotard 1988

Roncken 2013

Terrible Verschrikkelijk Burke 1757

Terror Verschrikking Burke 1757

Trauma Trauma Benjamin 1936 (in: Morley)

Morley 2010

Weariness Vermoeidheid Burke 1757

Appendix A


123



Danger Gevaar Burke 1757

Dead / Death (or: Destruction of life)

Dood (of: Destructie van het leven)

Burke 1757

Morley 2010

Hazard Gevaar Goatcher and Brunsden 2011

Loss Verlies Burke 1757

Morley 2010

Pain (vs. pleasure) Pijn (vs. plezier) Burke 1757

Shock Schok Burke 1757 (in: Morley 2010)

Benjamin 1936 (in: Morley 2010)

Sickness (or: Destruction of health)

Ziekte (of: destructie van gezondheid)

Burke 1757

Threat Bedreiging Longinus 1867 (in: Morley 2010)

Violence Geweld Longinus 1867 (in: Morley 2010)

Burke 1757 (in: Morley 2010)


Destabilizing Destabiliseren Burke 1757 (in: Morley 2010)

Difficulty (Blockage) Moeilijkheid Burke 1757

Limit Begrenzen Kant 1790 (in: Morley 2010)

Privation Ontbering Lyotard 1988

Strenuous Inspannend Kant 1790 (in: Roncken 2013)

Suppresion Onderdrukking Freud 1919 (in: Morley 2010)

Unsettling Uit balans brengen Morley 2010

Appendix A


124



Divine Het goddelijke Hegel 1827 (in: Morley 2010)

Ecstasy Extase Schiller 1801 (in: Morley 2010)

Bataille 1943 (in: Morley 2010)

Exaltation Verhoging (geestelijk) Lyotard 1988

Morley 2010

Figuration Figuratie Hertz 1985 (in: Shaw 2006)

Perfection Perfectie Newman 1948

Otherness Het anders-zijn Schopenhauer 1819 (in: Morley 2010)

Revelation Openbaring Newman 1948

Transcend the human

Overstijgen van het menselijke

Weiskel 1976 (in: Morley 2010)

Transcendence Transcendentie Longinus 1867 (in: Morley 2010)

Morley 2010

Transformation Transformatie Morley 2010


Delight Verrukking Burke 1757

Glorying Gloriëren Longinus 1867 (in: Burke 1757)

Inward greatness Innerlijke grootsheid Roncken 2013

Joy Vreugde / Genot Longinus 1867

Lyotard 1988 (in: Morley)

Roncken 2013

Pleasure Genot Lyotard 1988

Power Macht Burke 1757

Pride (Proud / Proud flight)

Trots Longinus 1867

Roncken 2013

Relief Opluchting Lyotard 1988

Resilience Veerkracht Roncken 2013

Status Status Shaw 2006

Vaunting Trots Longinus 1867

Roncken 2013

Wealth Rijkdom Shaw 2006

Appendix A


125



Individuation Het individu zijn Jung, quoted by Schwartz Salanz 1995 (in: Morley 2010)

Observing the self Het zelf waarnemen Morley 2010

Reflection Reflectie Lyotard 1988

Self-awareness Zelfbewustzijn Jung, quoted by Schwartz Salanz 1995 (in: Morley 2010)


Ambition Ambitie Burke 1757

Competition Competitie Longinus 1867 (in: Courtine 1993)

Desire Verlangen Morley 2010

Lust Lust Burke 1757

Passion (= combination of Pain and Pleasure)

Passie (= combinatie van pijn en plezier)

Burke 1757

Appendix A


Appendix B



As landscape architects we are interested in what the theory of the sublime can offer to landscape design. What is already there to prove the relevance of the sublime for design and how can this guide our research? Aim of this study is to understand the potentials for the sublime in landscape designs. You can see it as a side-study to our MSc thesis report Works of the Sublime. The conclusions of this study are used in the research on how the potentials of a sublime design for the Hamerstraatgebied in North Amsterdam, as described in the report.

Towards design principlesDuring this thesis it filled us with doubts whether the sublime can really be relevant in landscape design, because of its multiple appearances. Isn’t is always the unspoilt and undesigned landscape that fills us with awe and astonishment, not the designed? Isn’t the purpose of a design principle as landscape architecture to create a landscape and to strive for beauty? Hence, the venustas Vitruvus (+/- 15 BC) wrote about - meaning attractiveness, prettiness, beauty - is still broadly understood as one of (landscape) architecture’s principle qualities. And, even then, can we really design landscape that have the same experiential effect as a volcano?

To gain a better understanding how to design for a sublime experience, we see how others dealt with this. What landscape architects had the intention to design for a sublime experience and how did they guide this design? We search for landscape architecture projects that are literally being related to a sublime experience. As there exists no extensive list of projects that mention a sublime element literally in their project description, we have to come up with examples of projects ourselves.

We ask ourselves the question: How is the sublime represented in landscape designs?

We answer this question by doing a literature study into the appearance of the sublime in landscape designs. Here we treat the sublime in a literal way: we search for design principles that are named in these texts to describe the sublime experience.

We also do a project study on the appearance of the sublime in landscape designs. Here we treat the sublime in a non-literal way: we search for project that we relate to the sublime and search how the designs relate to what we know of the sublime.

IntroductionB.1

129

For this literature study, we use two critiques from the field of landscape architecture that handle the sublime theory and relate it to design. Here we treat the sublime in a literal way: we search for sources on the sublime, and look for design principles that guide the sublime experience.

Analysis of Meyer’s sublimeWe analyse the essay written by landscape critic Elizabeth K. Meyer in which she says being seized by the sublime (Meyer 1996). This treatise is one of the few directly discussing a sublime experience by a landscape design. According to us, it explains well how landscape can evoke sublime experience from a first-person perspective. Reviewing two landscapes in/near Seattle, Gas Works Park and Bloedel Reserve, both designed by landscape architect Richard Haag, she recalls several elements from sublime literature and considers that “both are sublime”:

Each site exhibits the interplay between the forces of human settlement and technological progress, such as power and timber production, and the agents of natural processes, in particular the hydrological cycle. Given the degree to which this interplay creates a set of unsettling uncertainties, each site consists of sublimity, a feeling rarely evoked by built landscapes. In essence what joins them together is not so much what they are, but what they do to the visitor. (Meyer 1996, pp.10-11)

Meyer explains that both landscapes perform similarities in their symbolic meaning. Her using the word ‘sublime’ aims at the inner reaction that the two sites evoke with her. Each site reveals a certain meaningful layer of emotion and stories to her, which she relates to the theory of the sublime. This is an experience that is

felt seldomly, but is extremely powerful to her. She relates this to the post-modern notion of the sublime that “the subject of the sublime, if there is one, is a subject who is moved” (Nancy 1993 cited in Meyer 1996, p.15). She is obviously moved by the two landscapes, reminding her of outstanding experiences she had in life:

Neither Gas Works nor Bloedel can compete with the power of a submarine’s technological sublime, or the vastness of the ocean and the destructive energy of a coastal storm, or the immeasurability of the Lawn’s original open vista reflecting the limitlessness of the human imagination. And yet, in their relative diminutiveness, these built landscapes defy boundaries and limits. I believe their power to move lies in their ability to challenge a sense of spatial boundaries through temporal means, to suggest the open-endness of processes, the longue durée, not simply the fleeting moment. (p.15)

By comparing the content and design interventions of both landscapes, she comes to further conclusions about what sublime experiences are evoked with her. She is able to relate her experience to the physical manifestation of Bloedel Reserve and Gas Works Park - something which we find very useful, because by understanding what evokes the sublime experience we are getting closer to principles for our own designs.

Gas Works ParkMeyer emphasizes the relation between the physical appearance and her own experiences. The Gas Works Park contains several industrial relics of the former gas factory, assembled together and “transfigured (...) into aesthetic objects”:

This was achieved, first, through masking their presence with a thick, green wall separating

Literal use of the sublime in landscape designB.2

130

the parking lot from the park, and then through juxtaposing silhouetted towers in the foreground with the city in the distant background. These objects were made heroic by their isolation and lack of functional context. (p.16)

The industrial relics present in the area were used by the designer for his new site layout. By design principles of transfiguration of architectural objects, separation of different areas of the park, and juxtaposition and isolation of objects in its context, he provokes a new interaction and experience of this landscape. Result is an appearance of the technological sublime, “awe of our ability both to control nature, space, and time through technology and to create magnificent forms clearly expressive of that control” (p.16). At the same time, these industrial elements tell a double story of the technological development both of “progress and control” and of “improvement and redemption” (p.17).

The remembrance of the site’s history of pollutants oozing out of the ground, though not directly visible, adds another layer to this experience. Knowing of the polluted undersoil, Meyer experiences the tension that is present on the site: “Signs warning visitors to avoid the soil, but no guards against this in the playground. Terror arrested. Pleasure in fear” (p.18) - directly recalling Burke. Dealing with those ‘hidden layers’ and recognizing the signs that they tell was probably part of Haag’s design process. The park has another play between the known and unknown, the visible and invisible, emphasizing and hiding:

The swelling mound of earth is a marvelous earthen plinth for viewing the city, a dump of waste, and a monument to residues of industrial production. Atop the hill, a sundial with human gnomons is

a marker of time passing, of a site slowly healing itself, or of a time bomb of persistent toxins - representing the “nondemonstratable,” [referring to Lyotard] alluding to the invisible within the visible. The mound above and groundwater below the surface of Gas Works Park evokes a sense of the natural sublime contaminated by, and one with, the technological. The boundlessness and interconnectedness of Gas Work’s hydrological system challenge any pretense to a heroic, progressive rhetoric of the technological sublime. (p.18)

The design principles here are the creation of a viewing point and monument, marking of time aspects and processes, and alluding to the invisible within the visible. To conclude, the notion of the sublime experience can be caught in a present sense of both the terra firma and the terra incognita. The terra firma, the solid landscape, is a “clear delineation of impacts” and the terra incognita, the underlying and invisible landscape, is its “continuum of flux and flow” (p.19). The sublime experiences at Gas Works are mostly related to the collection of industrial relics and other land structures. The stories that guide this site support the experiences.

Bloedel ReserveHow different is this at Bloedel Reserve where more the evoked experiences are more ‘episodic’, caused by “the accumulated experience of a series of rooms in the woods”. The designer arranged the site into a series of rooms/gardens that each represents another type of nature. The contrast between these rooms and the paradoxes are a source for Meyer’s sublime experience:

The striking contrast between the meadow to the west or woods to the south and east, and the

Appendix B


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keeper, a time capsule, a time bomb” Meyer concludes.

At the end of the moss garden, she enters the reflection garden, not before she passes a “danger” sign filling her with a feeling of unfocused menace. Again, the contrast between the two gardens could not be stronger. She reflects on the difference between the soberness of the reflection garden and “the intensity of the moss garden”:

[…] its strangeness, which required me to watch every step, to scrutinize the ground for its diversity of texture, its pooling and oozing of ground water. In the reflection garden, boundaries are secure: geometry has defined and ordered nature and has reduced its systems into elements - ground, plants, water, and sky. Water swells up from the ground, forcing itself up towards daylight. The water at the basin’s surface continues to reach, grabbing the vast and distant sky and inscribing moving clouds into the ground itself. (p.21)

Design principles of the reflection garden creating this striking gesture are its geometrical shapes, the reduction of natural elements to architectural elements, and the direct reflection of the sky and moving clouds in the basin’s water surface. This formal “seemingly static” garden contains the “suggestion of infinity” (p.21).

Last garden in sequence, the bird marsh, can not be accessed as a whole, the visitor is more a guest or spectator. There she experiences the garden from the side of the pond, an alder grove restored after a forest fire, and sees the interplay of dark and light:

[…] dark water lit with sun spots, tawny alder trunks, dark woods, and bright sky above, deep water recesses and a sunny mound rises to the east.

anteroom/moss garden initiates a suspicion that there is a strange force with which to be reckoned here. [....] It seems of another world, another time. (p.19)

The moss garden’s reduction into an essential layout is a source for awe and wonder:

This anteroom escapes familiar landscape types or genres - historical and ecological. In fact, through the reduction of its constituent parts to the essentials of floor and roof - ground surface and tree canopy - what occupies the space between these planes takes on added importance. (p.19)

Here is played with the reduction of materials and elements that you would normally expect in this kind of forest landscape, making the present element of a fallen tree trunks more remarkable. The trunks, “strewn about the ground with seeming abandon”, tell stories about “decay and decomposition” (p.19), the control of nature and the events of logging. Again, like the waste mound or the industrial structures at Gas Works Park, there is intentionally left a historical remnant at the site, so that this enhance the linear time construct:

The fallen trunk’s transformation from living plant to humus supports this linear sense of time. The presence of moss and ferns, as well as small shrubs like huckleberry, growing out of the logs and stumps overlays a cyclical time structure, as decay gives way to growth and regeneration. (p.20)

Key principles here are the abandonment of the remnant trunks and the contrast of both decay and growth. Different appearances of time are present at this site, and like at Gas Works, they are also intertwined into a sensible experience. “This project is a time

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[....] Fire and water. Death and life. Disturbance and renewal. Fear with pleasure. Danger in the distant past, arrested, transformed. (p.21)

Design principles here are the interplay between light and dark, but also the stories contributes to the experience. Knowing that the landscape renewed after the forest fire, gives another meaning to the current lively and bright appearance of the landscape.

ReflectionReflecting on the basic ideas of the sublime, as stated by the main three sources for the sublime - Longinus, Burke and Kant (see report 2.2 and 2.3), we see similarities in the way they position the sublime and the experience Meyer describes. The Gas Works Park is source for an industrial sublime, a physical environment in which the perceived danger of the relics and polluted soil create a tension with current safety. This resembles Burke’s interpretation of a perceived danger versus a guranteed safe position. On the other hand, Meyer referred to the stories and the social debate around this place: the uncontrolled toxics, the unknown future, the responsibility - formless concepts that Kant would define as a source for an experience of incomprehension: the dynamic sublime.

The landscape of the Bloedel Park is source for an environmental sublime: the gardens resemble Burke’s natural romantic sublime (with elements of surprise, fear and death), though it resembles more the Kantian approach. For Meyer, Bloedel was only experienceable as a sublime landscape, because of the stories and events that she connected to the place. There, she felt the forces that are so typical in describing Kant’s dynamic sublime: natural power, growing plants, waterflows and fires.

Reflecting on the categorization we made of the list of clues (see report 2.4), we recognize a presence of clues of the category B (Awe and Surprise): the awe of industry and the astonishment of the relics at Gas Works, and the admiration for the nature and the surprising contrast between the gardens at Bloedel. Also present are clues of category C (Indeterminacy and Strangeness): the strangeness of the setting at Gas Works and the unknown forces of the forest at Bloedel. And we also recognize category J (Reflection and Self-Awareness): the awareness of herself being in Gas Works and in the gardens of Bloedel plays an important role in her experience.

EvaluationWhat Meyer learns us is that the representation of the sublime in both Haag’s designs is plural. General design principles of Gas Works are the transfiguration, juxtaposition and isolation of the industrial elements. The mound of polluted soil makes the dark stories of the landscape experienceable, alluding to the invisible within the visible and, at the same time, providing a marking of time aspects and processes in the creation of a monument. Meyer’s sublime experience hints at the terra firma and the terra incognita, both the visible earth and its underlying invisible fluxes of pollution. The project of Bloedel Park has similarities; the design principles used have a completely different setting - a natural private estate, instead of a public brownfield reclamation park. But also at Bloedel there is an interplay between visible interventions made by the designer, and invisible aspects of remembrance and natural processes. Bloedel consists of different rooms, with each its own atmosphere; together they form a sequence of different experiences

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and contrasts. The moss garden is reduced into an abandoned environment; the fallen trunk remembers of the wood logging events here, but shows also both decay and growth. The reflection garden, though, is a very static garden by its geometrical shapes and direct reflection of clouds and sky in the water body - the designer performed a whole different way of reduction here. The bird marsh shows an interplay between light and dark and recalls the event of a forest fire - life and death is experienced at the same time. At Bloedel, Meyer’s sublime experience again is a result of terra firma and terra incognita; what was there or what happened is made experienceable by design. Bloedel creates a tension between historical remembrance and current ages, juxtaposing space and time.

Analysis of Rosenberg’s sublimeElissa Rosenberg, associate professor of landscape architecture at the University of Virginia, writes about the landscape of the Herman Miller Factory, designed by the office of Van Valkenburgh Associates. In her critique, she describes the project as an example of the suburban sublime. She states that this landscape design is a twofold: it both evokes the experience of the factory and the production process, and the experience of everyday context:

What is most powerful about the project is the way it seems to operate at two registers: the outsized scale of production and the daily texture of experience. The site design reflects a careful negotiation between these two realms. The systemic scale is evoked by heightening and celebrating the sense of expansiveness. [....] Both the architecture and landscape defer to the scale of production and find grandeur in its dimensions [...]. There is no fussy detail. Instead, architecture and landscape

are kept abstract and broadly gestural. (Rosenberg 2008, p.102)

This is an interesting statement, because she places a sublime experience in opposite of the “daily texture of experience”, exalting the sublime as an exclusive and extraordinary experience. She finds that the landscape is sublime because it offers a “sense of expansiveness”, “grandeur in dimensions” and is kept “grandly gestural”. All these concepts refer to the size of the landscape and the intervention. Based on the contextual landscape and the appearance of this grandeur, Elissa Rosenberg gives this type of sublime a name:

[...] this is not an “industrial sublime,” bringing to mind images of nineteenth-century machinery, mines, or blast furnaces, but rather the sublime of the wide open spaces and endless highways that support American industry and suburbia alike. (Rosenberg 2008, p.102)

It it interesting to know how this grandeur is designed. The critique of Rosenberg focuses on many elements of the design that help to evoke the experience of the suburban sublime.

The entrance to the site provides one of its key sublime moments. With the front door moved to the rear, employee arrival is drawn out into a long processional sequence. The entry drive to the parking lot is designed as an extended axial allée, defined by an immense 30-foot wall of concrete tilt-up panels on one side and a row of tulip poplars (Liriodendron tulipifera) on the other, frame a view of the distant hills. The truck loading dock at the entrance also provides the occasion for an extravagant gesture. The concrete panel wall that forms the allée serves to enclose the loading dock and storage area, transforming it into an honorific

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function of this environment that shape the sensation. As Kant stated, there is not only the representation of the mathematical sublime, but also of the dynamic.

Reflecting on our list and categorization of clues, we see that Rosenberg mainly stressed out on category B and D. The magnitude of the landscape, in combination with a strong sense of admiration and wonder is what makes it a sublime experience.

EvaluationRosenberg gives a strong example of a contemporary landscape design evoking a mathematical sublime experience. In her description of this sensation she reflects on the physical state of the landscape, though there seem to be more possible shades of the sublime. We think that Rosenberg’s representation of the sublime can quite effectively be implemented in a landscape design like this. Although it, then, misses its subtlety and represents only a small amount of the sensation that it possibly can be.

Rosenberg seems to state that this sublime is in contrast of the daily everyday experiences, but we doubt that these concepts are exclusive. In our understanding, the sublime is an experience caused by an internal process; the daily everyday experience is more the setting or context in which this experience is caused.

See the schemes of figure B.19 for a synthesis of the two literature studies.

courtyard space. The simple symmetry of the walls and their exaggerated height give the loading court the appearance of a surreal “court of honor,” animated by the movement of semi-trailers. In each case, the functional spaces of the site are given architectural presence, acknowledging the human dimension of production. (Rosenberg 2008, p.102)

What are the used design principles here? First it is the entrance which is spread out as a long ramp towards the actual building, like a “processional sequence”, supported by a high sculptural wall and a row of poplars. Symmetry and exaggeration support the experience of being small in a vast landscape creating surreality, as Rosenberg says.

Also at another location in the area, the employee parking lot, the overscaling, exaggeration and symmetry of object is used to create an impressive landscape. This time by using wooden poles that “create a surreal effect, suggesting, again, the scale of the sublime” (Rosenberg 2008, p.103).

ReflectionThe sublime that Rosenberg describes is obviously that of the mathematic sublime of Kant. The size of the entree, the height of the walls, the poplars and the poles, are all design interventions used to make the viewer experience his smallness within the landscape. This is done very effective and can be called a form of sublimity. As we already know from literature, the physical size of (natural) elements has always been a source for describing a sublime sensation: rivers, volcanoes, mountains, oceans, etc. But what Burke and Kant also already noted is that there is more than only this physical environment that causes the sensation. It is also the context, the processes and the

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was available for us in a certain amount of time.

MethodWe wonder in what ways designers can influence landscape to make it sublime. Therefore we select some projects of which we assume that they design a certain sublime experience. For each project we ask ourselves the questions: what are dominant design principles in this project, how is aimed at a certain experience and can we call this experience sublime?

This is done by evaluating the projects on the same aspects. As detectives we searched the web, articles and books for information on the projects. This information is expressed in text and gathered in a scheme, which enables us to compare the projects on the same aspects.

We select the projects on the basis of a few aspects: • their designer(s): a landscape

architecture or (related) design company should be involved in the project, because otherwise there would be less relevance for our design;

• their age: not more than a few years old, because we are only interested in recent projects as our research aims also only at current society and perceptions;

• the amount of written sources about the project that was available for us: without any written material or pictures it would be impossible to retrieve any (detailed) information about the design;

• their relevance to experience-based design: this is a hard one to explain, because it is based on our interpretation of the project: a project

To understand more of the sublime, we should look further than only the literal use of the word. By doing a project study on the appearance of the sublime in landscape designs, we try to understand if projects can evoke a sublime experiences and how this is achieved. Here we treat the sublime in a non-literal way.

Design studyLandscape designs mostly stand not alone. Designs can be placed in a tradition of concepts and styles. Looking at other projects can therefore be relevant and of great use to create better new projects. “Outstanding new projects can result from putting a new twist on ideas from the past” (Urban Land Institute 1998 cited in Francis 2001).

We use a reference study as a method. We would rather call it a ‘design study’ because we are only interested in the design elements, rather than the actual realised landscape. Reference studies are quite similar to case studies, but a lot shorter and less in-depth. Case studies and reference studies are of great value for doing landscape architecture research but the use of it can have different intentions:

There are several ways case studies can be used. In the design professions, such as landscape architecture, they are typically used to describe and/or evaluate a project or process. (Francis 2001)

This method makes it possible to compare different types and objectives, and to come to new, interrelated conclusions (Francis 2001). That resembles our intention: we look for the elements in the design that trigger the sublime experience. What this can be is part of the study, so we include as many design aspects as possible. The material to explain each aspect is gathered from what

Non-literal use of the sublime in landscape designB.3

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with no indication to any experiential aim would not be relevant for this study.

We made a selection of four projects that meet these aspects: • Bunker 599, designed by RAAAF

[Rietveld Architecture-Art-Affordances] (formerly known as Rietveld Landscape), in Culemborg (NL) in 2010, currently constructed;

• Garden of 10000 Bridges, designed in 2010 by West 8, for Xi’an International Horticulture Exhibition (CN), in 2011 temporarily constructed and currently deconstructed;

• Star Maze, designed by LOLA Landscape Architects at the estate Groot Vijversburg in Tytsjerk (NL) in 2011, currently under construction;

• Trollstigen National Tourist Route, designed by Reiulf Ramstad Arkitekter in Romsdalen (NO) in 2012, currently constructed.

All projects are tested on the same aspects to make the projects comparable. These are grouped in different sets: • the first group consists of the aspects

of the design content, including what is written about the intentions of the designers and the direct and indirect use of the word ‘sublime’;

• the second group consists of the aspects of the design process, including the type of client, the role of the designer, whether or not in the design process there has been done a study on the user groups, and the design approach that was used;

• the third group consists of the aspects of the design texts, including description of the design concept, purpose, shape, archetypal elements,

materialization, the context, size, duration of visit, accessibility, sociability, sensory design elements and time aspects.

On the next page a scheme shows the design aspects and how we expressed them. Also written is the kind of source that is used to test the design aspect: • a primary source is the material that

is made by the designer(s) himself or themselves, containing the original design descriptions, design plans, graphics and visualisations;

• a secondary source is the material that is made by others, describing the design in different media, including architecture reviews, weblogs and articles;

• our evaluations is what we interpreted from visualisations, pictures and written material of the design.

After the analyses of the projects, we give an evaluation per project in which we reflect upon the experiential principles and argue whether this experience can be called sublime. Of course the selection of aspects and projects is not extensive. However, we believe this is a sufficient amount to test the aspects and to find answers to the research question.

Appendix B


Aspect Expressed as Source

Desi

gn c

onte

ntConcept Installation/Route design/Park

design/Regional design/etc.Prim. source/Sec. source/Our evaluations

Purpose Design purpose in short Prim. source/Sec. source/Our evaluations

Shape Linear/Point/Surface Prim. source/Sec. source/Our evaluations

Archetypal elements Steps/Walls/Doors/Paths/etc. Prim. source/Sec. source/Our evaluations

Materialization Trees/Plants/Pavement/etc, Prim. source/Sec. source/Our evaluations

Context Surrounding landscape Prim. source/Sec. source/Our evaluations

Size Surface of the intervention in square meters

Prim. source/Sec. source/Our evaluations

Duration of visit Amount of time needed to go through the intervention


Accessibility Public/Private accessible for Individuals/Small groups/Big groups


Sociability The design intentions to provoke social interaction


Sensory design elements

Visual/Tactile/Olfactory/Auditory/Gustatory


Time aspects Time involvement e.g. by planting / maintenance


Desi

gn p

roce

ss

Client Organisation (private/semi-public/public)

Primary source/Secondary source

Role of the designer Involvement of the designers in the process


Study after target group

Engagement of a study after user groups


Design approach In terms of the designers Primary source

Desi

gn te

xts

Direct sublime intentions

Use of the word “sublime” Primary source

Indirect sublime intentions

Use of clues for the sublime Primary source

Direct sublime description

Use of the word “sublime” Secondary source

Indirect sublime description

Use of clues for the sublime Secondary source

figur

e B.

1: T

he s

chem

e of

the

aspe

cts,

how

we

can

expr

ess

them

and

wha

t sou

rces

are

rele

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to fi

nd in

form

atio

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Design processThe client for this design is the municipality of Culemborg and DLG (The Dutch Service for Land and Water Management), both public organisations. RAAAF was together with Atelier de Lyon fully involved in the design. The approach they use is that of “a strategic intervention that sets new development in motion” (Rietveld et al. 2014). There is no mention that they conducted any study into the user group(s) for this site.

Design textDescribing their project Bunker 599, RAAAF (2014a) do not mention any sublime intention, but say that it “makes people look at their surroundings in a new way” and that “the pier and piles supporting it remind them that the water surrounding them [...] is a shallow water plain characteristic of the inundations in times of war.” The design aims at an experience of awareness and remembrance, rather than a direct sublime experience.

Also, no secondary source mentions any sublime experience, though we recognize some hints to it. Jonathan Glancey (2013) speaks in The Architectural Review about a “split infinity” and an opening of a “way through sometimes impenetrable memories of war to a future of broader horizons”, aiming at a strong relationship between the physical appearance of the bunker and the pathway, and the memories that it evokes. The bunker is described as a “mournful bulk”. The design’s “poignancy lies in the fact that Fort 599 did not stop the Germans from invading Holland” - again he recalls the sad memory of war and relates this to the site. He describes the contrast with the current situation:

Bunker 599

Design contentRAAAF made a route design for one bunker, to make the whole New Dutch Waterline (NDW) experienceable. It is shaped as a linear structure of a path leading from the dike down into the inundation polder. The design intervention consists of steps, a path through the portal of the sliced bunker and a pier above the water. The steps and pavement are white stone, the bunker is a object trouvé made of concrete and the pier and poles are made of wood. The design is located in the rural landscape of Culemborg, next to a highway (A2) and a bicycle path. It measures approximately 500 square meters and is publicly accessible for individuals, small groups and big groups, although the pier is pervious only for a limited amount of people. The time need for a visit is approximately 5 minutes, the time needed to walk from the bicycle path straight up and down the pier once, but the bunker and the viewing point at the end of the pier evoke a longer stay.

The design intervention aims at the individual experience and it provokes no social interaction. Sensory aspects of the design are: • visual: the sharp line of sight that is

created by the symmetrical design and the wide views from the dike over the inundation polder;

• and tactile: the concrete surface of the bisected bunker in combination with the blowing wind on skin.

Time aspects are very present, although the project is constructed as a whole at once. The remembrance of war times is provoked by both the inundation level of the polder and the bisected bunker.

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figure B.2: The symmetrical design creates a sharp line of sight.

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And, yet, today, the trade borne by all those articulated lorries thundering along the A2 motorway in view of Bunker 599 is a symbol of a Europe at peace, of boundaries pushed aside, of infinite possibilities. (Glancey 2013)

The Jury of the Architectural Review Award called the design “a mix of delicateness, strength and impertinence” (Jury Architectural Review Award 2013 cited by RAAAF 2014b), although it is possible that with this statement they mean the designers themselves rather than the actual design.

EvaluationThe size of the project is relatively small, but the provoked experience is much bigger. The design provokes a new perspective - directly by bisecting the solid bunker and constructing a pier in the polder; but also indirectly, by referencing at the historical background and meaning of the site. The

uncommon design and the impertinence of the designers can only be understood if you know of this meaning.

This experience of remembrance and awareness is generated with the visitor by adding visual and tactile senses: the enclosed space of the bunker versus the wide sightlines; the rough surface of the bunker versus the blowing wind. But at the same time, this historical meaning is not currently present anymore. The highway and the recreational landscape remember that the visitor is living in the 21st century. In this way, the visitor is provoked to experience both historical war and current peace at the same time. A juxtaposed awareness of different time and space: a strong historical sublime experience.

figure B.3: A footpath, leading downstairs, through the bunker,up to the pier.

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figure B.5: Isometric render of the design intervention.

figure B.4: Location of the Bunker 599 project in the inundation polder landscape.

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skin, the physical and muscular effort to climb the bridges, the cold feeling of the metal banisters;

• and auditory: “the sounds of the moving bamboo” (Architype 2012).

Time aspects are not determined literally, but we assume that the fast growth of the bamboo crops is a well-considered fact in the design.

Design processThe Garden of 10000 Bridges is part of the programme for the International Horticulture Exhibition 2011, organized by the International Association of Horticultural Producers (AIPH), a semi-public organization who is the client for this project. West 8 had full design involvements and did this project in cooperation with DYJG Beijing. It is not determined whether they performed a research on the user group. The general design approach of the office of West 8 is “adding and expressing new natures” and “creating land and then painting it” (West 8 2014b), aiming at the combination of creating new landscapes and adding quality to them.

Design textWest 8 describes this project:

Gardens tell a story. They combine poetry and narrative. The Garden of 10,000 Bridges represents the human life; the path of people’s lifetime, which is a route of uncertainty and burden, but also of highlights and elation. The garden design takes you on this walk of life as a meandering, winding trail – continuous and like a labyrinth. It lets you find your way through nature and takes you over 10,000 bridges. (West 8 2014a)

The human life with its ups and downs, is literally represented by the up-and-down-going bridges - the word “elation” is in this

Garden of 10000 Bridges

Design contentThe Garden of 10000 Bridges is a temporary garden design that “represents the human life” (West 8 2014a), located on the terrain of the International Horticulture Exhibition in Xi’An. It is shaped as a surface of a bamboo field with a winding pathway throughout it. The archetypal elements are paved pathways, five red-painted steeply curved bridges. The materialization consists of 2 meter high bamboo crops, concrete bridges with metal banisters; the paths are made of fine broken black granite (gravel), enclosed by a softly rounded curbstone of dark granite.

The project measures approximately 4000 square meters. Because it is on private exhibition terrain, the garden is limited accessible (the exhibition asks an entrance fee of 100 CNY: approximately 12,50 euros). It is accessible for both individuals, small groups and big groups. We estimate that it would take about 2 minutes for a visitor to walk the route through the garden, though this would easily be longer if he would take breaks or would be slowed down by the person in front of him.

The design evokes hardly any social interaction because “the visitor is limited to himself, possible the person in front of him and the sounds of the moving bamboo” (Architype 2012). Sensory aspects are: • visual: the obstructed views in the

maze let the visitor find his way offering a feeling of enclosement, but when standing on the bridge he gets an overview: “both a distinct sense of enclosure and vantage points are provided” (Architype 2012);

• tactile: the feeling of bamboo leaves on

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figure B.6: Physical effort of climbing the bridges.

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EvaluationCore of the design is the wavy, curvy path through the bamboo fields. By designing with visual, tactile and auditory elements, the designers played with the perception of the visitor. The perception constantly alternates between enclosure and overview. Purpose of these alternations is to offer, directly, new perspectives on the garden - seeing bamboo fields from below and from above - but also, indirectly, to evoke new insight in life - uncertainty and burdens versus highlights and elation, as the designers propose. We doubt whether this design is a successful representation of life’s highlights and burdens, because we don’t think the project evokes such deep experiences.

We think the description of Architype is much more practical and convincing, saying the design plays with limitation and solitude. The inner experience of limitation resembles the sublime experience. The closeness of the bamboo crops, the obstructed views and its monotonous space - those design elements can guide this individual sublime experience. But, again, you can question whether this deep experience can always be evoked in such a short amount of time, especially on moments when the garden is seized by tourists.

sense should be taken very literally. West 8 speaks also of a “play with the limits and the sensation of surprise”, referring to the fact that the route is never completely visible to the visitor so that he is challenged to experience surprises when lifted above the bamboo fields. The pathway is the leading element that guide the visitor through his life.

Secondary sources don’t relate the sublime to this project but, again, we think there are some suggestions into that direction. The Dirt writes that the design interventions “convey the idea of life’s ups and downs, while also immersing visitors in nature” (Green 2010). ArchDaily says that “the bridges [...] provide the user with a different perspective above the landscape” (Cilento 2011), but does not point out what this perspective is or what this can do to the user. Other reviews focus on the element of feeling lost. FastCompany explains the design effect “that you never know where you are or how far you’ve traveled; in other words, it’s supposed to make you feel lost” (LaBarre 2010). Architype says that this evokes an experience of limitation and being on your own:

The visitor is not able to see at which point of the garden he is located and how much of its way he has finished. In these moments the visitor is limited to himself, possible the person in front of him and the sounds of the moving bamboo. (Architype 2012)

figure B.7 (above): Different experiences of space: openness on top of the bridges, closeness inside the bamboo fields.

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figure B.8: Master plan with the location of the bridges in the garden.

figure B.9: Aerial visualisation of the garden, with the curly path through the bamboo crops.

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image changing during time. Also, the hedges are planted small but are guided when growing taller, creating a changing spatial image over time.

Design processThe design was made for Stichting Op Toutenberg, a semi-public organization who owns and manages the estate. LOLA was given full design involvement and did this project together with Deltavormgroep and Piet Oudolf. The design is aimed at visitors of the estate, although there has intentionally been no target group involved in the process. The design is “‘target group’-less: the experience of discovering and getting lost is collective and needs no explanation” (Pleijster et al. 2013, p.170). The design approach according to the designers is to explore The Fat of the Land “when nature expresses itself in its full glory, when all the senses are piqued and sound, smell and touch are amplified” (p.19).

Design textThe designers of LOLA speak of:

[...] a great freedom of choice in the way he can move through the park. The visitor has to find his own way through the ‘Star Maze’ to the different areas. The central space gives an overview in all directions but at the same time doesn’t impose any direction. By doing so, the design goes beyond the ideals of public cultivation and public health on which the nearby romantic park and the modernistic recreational landscape are based, and it gives the visitor maximum freedom to use the park however he wishes to. (LOLA landscape architects 2014)

LOLA underscores the freedom of choice their park design offers. This freedom matches the demands that people currently ask in park, as the designers expect. Star

Star Maze

Design contentLOLA made park design as an extension of the existing estate Groot Vijversburg by adding the Star Maze park in which visitors can wander around. The park is a surface with a maze-shaped route in the middle. The elements that make the intervention are simple unpaved pathways, four meters hedges rising like walls, some mound and small dikes, a hut, a small bridge and a jetty. As materials they used pruned hedge and trimmed willows, flowery meadows, metal constructions to guide the growth of the hedges and some wooden benches. The privately owned park is located near the rural Frisian landscape of Ypey, south of the provincial road N355. It measures about 100 000 square meters (= 10 ha) and is accessible for individuals, small groups and big groups, after payment of a small fee. Visitors can spend approximately a few hours up to a day in the park.

The Star Maze “encourages unexpected encounters. Perforations in the hedge allow people to watch, peek and wave at each other” (Pleijster et al. 2013, p.164). Sensory aspects are: • visual: strong sightlines through the

maze arms, and visual connection to different elements in the landscape (river, forest, estate);

• tactile: the designers evoke to “pick up boots to walk through the muddy willow fields” (p.162);

• and auditory: defining that “each room has a different seclusion level and acoustic quality - the traffic noise from the regional road nearby will hardly be heard in some spaces” (p.170).

Time aspects of the design are the willow wood production that creates a dynamic

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figure B.10 (above): Scheme of the routes that the visitor can take through the park and the maze.

figure B.11 (below): Master plan for the park, with Star Maze in the middle.

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Maze’s shape that “doesn’t impose any direction” invites people to explore the space and the user “has to find his own way”. The design reveals itself to its user, as he moves through it. Whether this exploration is an equivalent to a sublime intention is not stated.

In his review of LOLA’ work, Paul Roncken indirectly links the sublime experience of landscapes to the designs of LOLA (Roncken 2013 in Pleijster et al., p.170). Likely following this idea, the press release about the Maaskantprijs, the price the designers won in 2013, literally recounts about a sublime experience that is shaped by the designers:

The prize goes to LOLA landscape architects because with their designs they shape in their own way a sublime experience in the city and landscape. They combine the knowledge of large-scale ecosystems with their own conception of space. (Maaskantprijs 2013)

The press release says that the sublime experience is shaped “in their own way” indicating that there are different ways to shape a sublime experience. However, how or by what elements this sublime experience is evoked, or how it can be shaped, is not made clear.

In their review, Designboom writes about the experience that the Star Maze evokes. They say “the endpoint of each corridor terminates with a different experience” (Gierco 2012), hinting at the different programme that each end of the Maze arms has in the design (e.g. viewing point, survival hut, jetty). Also the rest of the park offers space for experiencing as “movement through the landscape is permeable and free allowing the individual to find and discover their way through

the area without any imposed direction.” (Gierco 2012). The fact that there is not one dominant direction or pathway provided makes that the park evokes free movement and discovery.

EvaluationHow sublime is the experience of the Star Maze? The Maaskantprijs stated firmly that the designers aim at a sublime experience, but give no reasoning. The shape of the star makes that there is no implied direction, and the shape of the maze makes that the site is for wandering and wayfinding. This is very different than the Garden of 10000 Bridges, in which only one route is prescribed. The designers describe the project saying “all the senses are piques and sound, smell and touch are amplified”. They implemented both visual, tactile and auditory interventions, so that the visitor of the park gets a full-embodied experience.

The visitors are invited to explore all facets of the park, and there is space for adventure, boating and gazing. The use of the park is defined by person’s own preference. And the best activity one can do in the park is looking at others. The shape of the maze arms and the perforations in the hedges offer the visitor vistas to the other side of the hedge. The park “encourages unexpected encounters”, allowing people “to watch, peek and wave at each other”. The aspect of the park’s sociability is a strong design principle, and we expect that it influences the visitor’s experience a lot. The tension that wandering around, (secretly) watching and peeking at others, and unexpectedly meeting someone is a social sublime experience.

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149

figure B.12: Visualisation of the visitor being in the middle so the maze

figure B.13: Visualisation: perforations in the hedge allow people to watch, peek and wave at each other.

figure B.14: The hedges are planted small but are guided when growing taller, creating a changing spatial image over time.

Appendix B


150

• visual: the spectacular landscape, visible from different perspectives, whilst climbing up the pathway;

• tactile: the steel frames along the path, the wind on skin and the coldness of water damp of the waterfall, combined with the physical effort of climbing the stairs;

• auditory: the sound of water streaming and falling down

Water is a dynamic element in the design - “from snow, to running and then falling water” (RRA 2014a). Following the water stream makes the visitor aware of the continuity of the water, which forms an important time aspect.

Design processThe design is done for the Norwegian public roads administration, a public organization that manages roads but also promotes tourism. RRA has full design involvement, in cooperation with Multiconsult 13.3 landscaping. There is no mention of involvement of a user groups in the process. The designers describe their approach as follows:

Architecture must accommodate the restless mind of human society by way of functional flexibility, but at the same time it must counter the acceleration and unrest by manifesting tranquillity and timeless belonging. (Reiulf Ramstad Arkitekter 2014b)

Design textIn the original project description the designers of RRA speak of an experience enhancement, transitions and dynamics. These are their main design principles, served by the project’s physical appearances:

The project enhances the experience of the Trollstigen plateau’s location and nature.

Trollstigen National Tourist Route

Design contentThis design covers a new tourist route for Trollstigen, which means “Troll Stairs” in Norwegian. For this site, Reiulf Ramstad Arkitekter designed a staircase-like route with a park and some buildings supporting it. The purpose of the design is to create a viewing point over the landscape of the plateau. It is shaped as a linear path, starting at a lower surface of the entrance park. The intervention consists of “a primary mountain lodge with restaurant and gallery and an extensive network of paths and viewing platforms” and the materialization is mostly “cast-in-place concrete and COR-TEN steel” (Architizer 2013b), combined with different types of stone and glass. Also, “a variety of concrete finishes have been achieved, including hammering, trowelling, polishing and brooming, allowing the material to engage with local site particularities” (Strange 2012).

The designers’ intervention contains the archetypal elements of walkways and bridges, a visiting centre, some picnic areas, viewing platforms, and a waterfall with a hydroelectric power generator. The context of the design is the natural plateau landscape of Romsdalen (Norway). The size of the intervention measures 150 000 square meters (= 15 ha), the buildings around 1200 square meters. It is publicly accessible for individuals, small groups and big groups, probably for a small fee. To take the route until the final viewing point takes a visitor about half an hour.

The design intentions are to view over the rough landscape, there is hardly any sociability evoked in the design. The sensory aspects are:

Appendix B


151

Thoughtfulness regarding elements and materials underscore the site’s nature and character, and well-adapted, functional facilities augment the visitor’s experience. The architecture is characterised by clear and precise transitions between planned zones and the natural landscape. Through the notion of water as a dynamic element - from snow, to running and then falling water - and rock as a static element, the project creates a series of prepositional relations that describe and magnify the unique spatiality of the site. (Reiulf Ramstad Arkitekter 2014a)

The “series of prepositional relations” is probably expressed by the linear shape of the project and the different atmospheres that were designed for, starting at the entrance to the highest viewing point. The relation between the existing landscape and the intervention of the route, plus the experience of the elements of water and rock, offer the visitor a dynamic experience.

The Architizer says in their weblog about the A+ Awards that this project is sublime writing that Trollstigen is “the most

sublime tourist path imaginable” (Architizer 2013a). But when describing the project in more in-depth article and mentioning the sublime again, they seem to aim more at the landscape than the intervention itself:

Rising above misty Norwegian fjords, the Trollstigen National Tourist Route provides unprecedented access to a sublime Scandinavian landscape. (Architizer 2013b)

The article further mentions that “The bold forms and robust materiality [...] evoke rugged modernism with a cinematic flair” and the project is “characterized by clear and precise transition between the architecture and the natural landscape” (Architizer 2013b). Style of Design explains the experience of intimacy that the design evokes; both with the visitor’s own experience of place and the “perilous intimacy” with the landscape:

All of these elements are molded into the landscape so that the visitor’s experience of place seems even

figure B.15: Master plan of the area: the route as a delicate threads within the landscape.

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152

In this, Strange again notes a contrast, saying that the concrete shapes form a counterpoint of the steel structures. Concrete is linked to the “rocky outcrops” (the natural surroundings) steel to the “dramatic cantilevered lookout points” (the man-made intervention of the route). Both elements form a counterpoint in the design. The visitor is in the middle of this spectacle, sensing both protection and exposure.

EvaluationNature versus man-made; solid rocks versus thick pathway; concrete versus corten steel. All these contrasts create a tension to the visitor. This can be a source for sublime experiences. The linear shape and the rich details of the design, also, steer the experience with much control - both visual, tactile and auditory. The user is invited to enter the park and climb up the stairs to the very end. Each phase providing him with increasingly better views, resulting in a climactic end - evoking a sensational drift with the user.

Water is the element that guides this experience by the appearance of waterfalls, ice, snow and water damp. This project strongly adapts to the landscape and the dynamics of the water, calling an inner experience of intimacy with the landscape. Because, although there may be other visitors on the Route, this experience is made very personal, by presenting the spectacular, almost terrifying landscape, in such an unpolished way. The design intervention is there, just like that, and the user is left by himself alone, gazing at the view - a natural sublime experience.

more intimate. The lookouts punctuate this route, hanging over cliff edges to bring one into perilous intimacy with the mountains and glacial valleys. (Style of Design 2012)

The experience in which this intimacy results is described by Mapolis Magazine as “feeling as comfortable as possible in nature” (Zimmermann 2013).

BD (Building Design) wrote an extensive piece on Trollstigen saying that it is “linking a series of related but differentiated lookout points that orchestrate the stunning views” (Strange 2012). In this, the suggestion is made that the total assembly of viewing points contributed to its experiences. Adding that “the paths are conceived as delicate threads within the enveloping natural landscape — their lightness a counterpoint to the enormity of the surroundings,” the writer emphasizes on the collection of paths itselves. Their construction is in contrast with the surrounding landscape - lightness versus enormity. Then the relation between the materialization of the design and its experience is further examined:

At the lookout points the concrete comes to resemble rocky outcrops, sympathetic extensions of the existing geology. [....] In contrast the Cor-ten is used more emphatically, forming the balustrades to the paths — whose presence, or lack of one, articulates one’s sense of protection and exposure — and expressing daring while structuring the dramatic cantilevered lookout points themselves, providing visibly man-made elements that counterpoint the rock-like quality of the concrete. (Strange 2012)

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153

figure B.16: The lookouts, punctuate this route, hanging over cliff edges to bring one into perilous intimacy with the mountains.

figures B.17 (left) and B.18 (right): Details of the entrance building and the second views, plus sections of the walking path.

Appendix B


154

Reflection on the design studySee the scheme of figure B.20 for a synthesis of the design study.

With this project study we saw four different ways to evoke a sublime experience: four appearances of the sublime. Bunker 599 showed the aspects of remembrance of war times; this experiential layer, plus its strikingly contrast with the current times, created the historical sublime on this site. The Garden of 10000 Bridges plays with the senses, showing an interaction between enclosed and open space, aiming at an individual sublime experience. The Star Maze also alternates between open and enclosed spaces, but in a park landscape where the visitor is invited to stroll and wander around. He and other visitors can roam through the hedges, which evokes social interaction: a social sublime. As the last project, the Trollstigen Tourist Route calls a natural sublime experience, caused by its built-up climax and its dynamics of water, but especially by the interaction between the light design intervention and the rocky landscape.

We can conclude that all projects perform an element of the sublime experience, some aimed more directly than other. Bunker 599 and Garden of 10000 Bridges are relatively small (resp. 500 and 4000 square meters), and interact with the user/visitor in a very direct and individual way. Both designs leave much open for interpretation and behaviour. Big difference between the two is that Bunker 599 emphasizes on the history and is a public accessible landscape intervention, next to a recreational bicycle route and a regular Dutch highway, whether the Garden is a temporary landscape focussed on different perspectives, only

accessible by buying a ticket, and is even already gone now.

Star Maze and Trollstigen have both a much larger scale (resp. 10 and 15 ha) and each proposes an interaction in a more general way. The aimed sublime experiences could, however, not be more different: Star Maze does not have any implied direction, whether Trollstigen has only one route up the mountain. Star Maze is very inner-focussed with programme and activites within the park and focuses to a limited extent on its surroundings, whether Trollstigen bases its complete programme and activities on its surrounding landscape.

Reflecting on the basic mechanism of the sublime (report 2.2 and 2.3), all four projects show different approaches. Bunker 599 resembles much of the Kantian dynamic representation of the sublime: the experience of past times form an incomprehensable yet perceivable concept. The object is left on his own, and is exposed to its own senses of concepts. The Garden of 10000 Bridges and Star Maze both resembles much of Longinus’ approach where a source for the sublime lies within the performer. Both designs shape an environment for unusual emotions and experiences, that form a basis for personal adaptation. Trollstigen can be interpreted as a typical representation of Burke’s sublime: it builds upon the personal relation with the natural environment and it creates an awe, while the spectator is located on a safe platform. But also Kantian aspects play a role, because of the presence of the natural dynamics of waterfalls and the generation of water energy that has been made visible.

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155

When we look at the list of clues and the 11 categories we defined (report 2.4), the projects also show different relations. The focus of Bunker 599 is on category C (Indeterminacy and Strangeness): the specatator is placed in an unknown relation with a strange environment, in which he experiences the other times when the place was used for war purposes. For the Garden of 10000 Bridges, the designer’s intention is to aim for clues of the category H (Ecstacy and Perfection). We think the actual intervention, though, shows more resemblance with clues of the categories A (Voidness and Solitude) and J (Reflection and Self-Awareness). The route of the bridges brings the spectator in a solitary position in which experiences of individuation and reflection are dominant. The design of the Star Maze evokes senses of being among others and performing

activites while others are watching. Experiences of pleasure and power are dominant here, the clues of category I (Pleasure and Pride). For Trollstigen, the main experiences belong to category B (Awe and Suprise): the awe of the rocky landscape and the curiosity of what can be seen walking further uphill. But also experiences of category D (Excess and Vastness) are present: the wide views and the magnitude of the waterfalls. The strength of the water, the magnitude of the rocks in contrast to the subtle construction of the pathway.

The diversity of the appearances in these four projects provides us with a broader understanding of the relation between design interventions and its proposed experiences. This can provide us with much inspiration for our design interventions.

Appendix B


figure B.19: Synthesis of the projects from the literature study, with the categorizations of the sublime and the related design

principles.

Reflection on the sublimeB.4

ProjectSublime according to its context

Sublime according to basic mechanism


Anal

ysis

of c

ritiq

ues

Gas

Wor

ks P

ark

Industrial sublime (Meyer 1996)

Perceived historical danger and current safety (Burke)Dynamical sublime (Kant)

B - Awe and SurpriseC - Indeterminacy and StrangenessJ - Reflection and Self-Awareness

Transfiguration, juxtaposition, isolation

Industrial relics Alienation, surprise, awe

Creation of monumental viewing point

Mound of polluted soilsRemembrance (of toxic past), pleasure in fear

Alluding the visible within the invisible

Mound of polluted soilsSensing both terra firma and terra incognita

Bloe

del R

eser

ve

Environmental sublime (Meyer 1996)

Dynamical sublime (Kant)B - Awe and SurpriseJ - Reflection and Self-Awareness

Contrast and paradoxes between rooms

Different plantation concepts for the three gardens

Suspicion of a strange force, unfocused menace

Reduction to essentials, abandonment, contrast

Moss garden: trunks, mosses, ferns

Awe, wonder

Reduction of natural elements

Reflection garden: geometrical pond, secure boundaries, reflection in the water

Intensity, suggestion of infinity

Interplay between dark and light

Bird marsh: dark water lit with sun spots, dark woods and bright skies

Remembrance (of forest fires), death and life, disturbance and renewal, fear with pleasure


All three gardensSensing both terra firma and terra incognita

Herm

an M

iller

Fac

tory

Suburban sublime (Rosenberg 2008)

Mathematic sublime (Kant)B - Awe and SurpriseD - Excess and Vastness

Overscaling landscape and landscape elements

High wall, tulip poplars, wooden poles

Expansiveness, grandeur, grandly gesture

157

Appendix B

The sublime in landscape design 157




Anal

ysis

of c

ritiq

ues

Gas

Wor

ks P

ark

Industrial sublime (Meyer 1996)

Perceived historical danger and current safety (Burke)Dynamical sublime (Kant)

B - Awe and SurpriseC - Indeterminacy and StrangenessJ - Reflection and Self-Awareness

Transfiguration, juxtaposition, isolation

Industrial relics Alienation, surprise, awe

Creation of monumental viewing point

Mound of polluted soilsRemembrance (of toxic past), pleasure in fear


Mound of polluted soilsSensing both terra firma and terra incognita

Bloe

del R

eser

ve

Environmental sublime (Meyer 1996)

Dynamical sublime (Kant)B - Awe and SurpriseJ - Reflection and Self-Awareness

Contrast and paradoxes between rooms

Different plantation concepts for the three gardens

Suspicion of a strange force, unfocused menace

Reduction to essentials, abandonment, contrast

Moss garden: trunks, mosses, ferns

Awe, wonder

Reduction of natural elements

Reflection garden: geometrical pond, secure boundaries, reflection in the water

Intensity, suggestion of infinity

Interplay between dark and light

Bird marsh: dark water lit with sun spots, dark woods and bright skies

Remembrance (of forest fires), death and life, disturbance and renewal, fear with pleasure


All three gardensSensing both terra firma and terra incognita

Herm

an M

iller

Fac

tory

Suburban sublime (Rosenberg 2008)

Mathematic sublime (Kant)B - Awe and SurpriseD - Excess and Vastness

Overscaling landscape and landscape elements

High wall, tulip poplars, wooden poles

Expansiveness, grandeur, grandly gesture

figure B.20: Synthesis of the projects from the design study, with the categorizations of the sublime and the related design

principles.

Appendix B

The sublime in landscape design158




Desi

gn s

tudy

Bunk

er 5

99

Historical sublime Dynamical sublime (Kant)C - Indeterminacy and Strangeness

Offering a new perspective

Bisected bunker, constructed pier

Remembrance (of war), awareness historical meaning

Juxtaposing past and current times

Design intervention in a regular Dutch polder landscape

Historical war and current peace

The

Gard

en o

f 100

00

Brid

ges

Individual sublimeSource of the sublime lies in the performer (Longinus)

A - Voidness and SolitudeJ - Reflection and Self-Awareness

Alternating between openness and overview

Wavy, curvy path with bridges and throughbamboo fields

New insights in human life

Limiting sight and creating individual space

Closeness of the bamboo crops, obstructed views, monotonousspace

Limitation, solitude

Star

Maz

e

Social sublimeSource of the sublime lies in the performer (Longinus)


No implied direction, the visitor can wander around

Star-shaped maze Freedom

Offering vistas to peek at others

Shape of the maze arms, perforations in hedges

Gazing, watching the behaviour of others

Trol

lstig

en T

ouris

t Rou

te

Natural sublimeAwe when being safe (Burke)Dynamical sublime (Kant)

B - Awe and SurpriseD - Excess and Vastness

ContrastsSolid rocks and thick pathway, corten steel and concrete

Tension

Sensational driftOffering increasingly spectacular views

Tension

Intimacy with landscape and landscape processes

Rocky landscape; water in different apearances: waterfalls, ice, snow, damp; water power

Personal awe, feeling left alone with the landscape

159

Appendix B

The sublime in landscape design 159




Desi

gn s

tudy

Bunk

er 5

99

Historical sublime Dynamical sublime (Kant)C - Indeterminacy and Strangeness

Offering a new perspective

Bisected bunker, constructed pier

Remembrance (of war), awareness historical meaning

Juxtaposing past and current times

Design intervention in a regular Dutch polder landscape

Historical war and current peace

The

Gard

en o

f 100

00

Brid

ges

Individual sublimeSource of the sublime lies in the performer (Longinus)

A - Voidness and SolitudeJ - Reflection and Self-Awareness

Alternating between openness and overview

Wavy, curvy path with bridges and throughbamboo fields

New insights in human life

Limiting sight and creating individual space

Closeness of the bamboo crops, obstructed views, monotonousspace

Limitation, solitude

Star

Maz

e

Social sublimeSource of the sublime lies in the performer (Longinus)


No implied direction, the visitor can wander around

Star-shaped maze Freedom

Offering vistas to peek at others

Shape of the maze arms, perforations in hedges

Gazing, watching the behaviour of others

Trol

lstig

en T

ouris

t Rou

te

Natural sublimeAwe when being safe (Burke)Dynamical sublime (Kant)

B - Awe and SurpriseD - Excess and Vastness

ContrastsSolid rocks and thick pathway, corten steel and concrete

Tension

Sensational driftOffering increasingly spectacular views

Tension

Intimacy with landscape and landscape processes

Rocky landscape; water in different apearances: waterfalls, ice, snow, damp; water power

Personal awe, feeling left alone with the landscape

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of our ideas on the sublime and the beautiful, Cassell:

London (reprint 1990).

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J.H., London: MacMillan and Co. (1914).



Meyer, E.K. (1996) ‘Seized by Sublime Sentiments’, in

Saunders, W.S., ed., Richard Haag; Bloedel Reserve and

Gas Works Park, New York: Princeton Architectural Press,

6-28.

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nai010 publishers.





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Factory’, in Berrizbeitia, A., ed., Van Valkenburgh

Associates: Reconstructing Urban Landscapes, Yale: Yale

University Press, 84-107.

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Architizer A+ Awards!’, Architizer [online], 19 March,

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and-atelier-de-lyon-culemborg-the-netherlands/8655774.

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Green, J. (2010) ‘West 8’s Garden of 10,000 Bridges’,

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org/2010/12/22/west-8s-garden-of-10000-bridges/

[accessed 25 Sept 2014].

Grieco, L. (2012) ‘LOLA + deltavormgroep + piet oudolf:

groot vijversburg park extension’, Designboom [online], 24

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extension/ [accessed 25 Sept 2014].

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of Bridges in China’, FastCompany [online], 13 Dec,

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creates-a-maze-like-garden-of-bridges-in-china [accessed

25 Sept 2014].

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Groot Vijversburg [online], available: http://www.lolaweb.

nl/projecten.php?id=60 [accessed 26 Sept 2014].

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gaat naar LOLA landscape architects [press release], 10

April, available: http://www.rotterdammaaskant.nl/?id=1


RAAAF (2014a) Bunker 599 [online], available: http://www.

raaaf.nl/en/projects/7_bunker_599 [accessed 26 Sept

2014].

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raaaf.nl/en/publicity/lists/584_opinies [accessed 26 Sept

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reiulframstadarkitekter.no/projects.

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[online], available: http://www.reiulframstadarkitekter.

no/main.asp?menu=profile&submenu=phylosophy


Strange, H. (2012) ‘Trollstigen National Tourist Route by

Reiulf Ramstad’, BD (Building Design) [online], 8 Nov,

References

Image listfront:

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online], available: https://www.flickr.com/photos/

jackupcity/5030200364/ [accessed 25 Nov 2014].

figures B.2 - B.5:

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www.raaaf.nl/en/projects/7_bunker_599 [accessed 26

Sept 2014].

figure B.6 - B.9:

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[iamges online], December 26, available: http://architype.

org/project/garden-of-10000-bridges/ [accessed 25 Sept

2014].

figures B.10 - B.14:

LOLA landscape architects (2014) LOLA LOG: Dwaalster

Groot Vijversburg [images online], available: http://www.

lolaweb.nl/projecten.php?id=60 [accessed 26 Sept

2014].

figures B.15 - B.18:

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architecture/residential/trollstigen-tourist-route-project-by-

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161

Appendix C



IntroductionC.1

We believe landscape architects should be able to act as experts when it comes to their project and case. They should know and understand the landscape very well, in order to proof the justification of a design intervention.

This appendix shows a portrait of the Hamerstraatgebied, as interpreted by us. It is an inventory containing (unedited) photos, film frames, historical photos and a song about North Amsterdam.

An inventory of an area like the Hamerstraatgebied can never be considered complete. Although, by choosing different themes that emphasize on particular elements of the area, we can present a broad insight in the area. We can not say that we used one particular method for this landscape inventory; we selected on its potential relevance for the topic of our research.

Main inspiration for this inventory are two books: Perceel Nr. 235: Encyclopedie van een Volkstuin by Anne Geene (2010), and A Photographic Portrait of a Landscape: New Dimensions in Lanscape Philosophy by Pietsie Feenstra and Wapke Feenstra (2012). Both works represent a landscape in photos and little text, showing an insight in a particular area. The quality of an inventory like this is that it does not propose any judgement or preference, which leaves it open for interpretation by the reader/viewer. Throughout our report, we use the information from this portrait to support our analyses and findings.

Themes that are enlightened in this portrait of the Hamerstraatgebied are:

• The landscape - in which archetypal photographs of streets show the different appearances and facets of the physical landscape itself and its architecture;

• People in the landscape - in which we show different people acting behaviour in the landscape (outside the buildings they work in);

• Traces in the landscape - in which photographs show traces of different forms of use and shape an image of the mental landscape (as perceived by people), derived from elements and appearances in the landscape;

• History of the landscape - in which we present a song text and show historical photos that give an image of the appearance and use of the landscape in past times.

Altogether, this portrait forms a deep insight and representation of the landscape of the Hamerstraatgebied which is a main contribution to the research.

165The landscapeC.2

figure C.1: Archetypal photographs of the Motorkade (1,2), Gedempt Hamerkanaal (west) (3,4), De Overkant terrain (5,6),

Spijkerhaven (7,8) and Hamerstraat (9,10).

1.

3.

5.1.

7.

2.

4.

6.

8.

10.9.

166

figure C.2: Archetypal photographs of the Beitelkade (1,2), Schaafstraat (3,4), Gedempt Hamerkanaal (east) (5,6),

Aambeeldstraat (7,8) and Mokerstraat (9,10).

Appendix C


1.

3.

5.

7.

2.

4.

6.

8.

10.9.

167

figure C.3: Archetypal photographs of the Johan van Hasseltweg (1,2), the G.T. Ketjenweg (3,4), Halte Zamenhofstraat terrain

(5,6), Hoyer terrain (7,8) and Meeuwenlaan (9,10).

Appendix C


1.

3.

5.

7.

2.

4.

6.

8.

10.9.

People in the landscapeC.3

figure C.4: Photographs of people performing different activities within the Hamerstraatgebied: walking (1-6), cycling (7,8),

working (9,10), relaxing (11), meeting (12,13) and using the ferry (14-20).

1.

3.

5.

7.

2.

4.

6.

8.

10.9.

169

Appendix C


11.

13.

15.

17.

12.

14.

16.

18.

20.19.

Traces in the landscapeC.4

figure C.5: Photographs of different traces in the Hamerstraatgebied: crooked pavement (1), graffiti tags (2), graffiti art (3),

waste dumps (4,5), collections of cast-off objects (6,7), flower bed (8) and vandalism (9).

* Places are built or made out of cultural traces: “marks, residues or remnants left in place by cultural life” (Anderson 2009). Traces tell us how places are used and perceived and tell us therefore more about the mental landscape of the users.

2.

4.

6.

1.

3.

5.

7.

9.8.

171

De Zonzij van ‘t IJ [The Sunny Side of the IJ]

Ooit fietsten onze vadersLangs de lange MeeuwenlaanIn Noord bestaan de kadersOm op de werf aan het werk te gaan

Ooit stonden hier de kranenIn de verre blauwe luchtToen hier nog schepen kwamenMaar die tijd die komt niet terug

Daar aan de zonzij van ‘t IJ Zal ooit de stad weer groeienEn zullen duizend bloemen bloeienAan de zonzij van ‘t IJ

Ja, je kan vluchten naar AlmereJe kan schuilen in PurmerendJe zal altijd weer terugkerennaar de plek waar je geboren bent

Aan de zonzij van ‘t IJ Zal ooit de stad weer groeienEn zullen duizend bloemen bloeienAan de zonzij van ‘t IJ

-text by Jef Hofmeister

History of the landscapeC.5

172

figure C.7: The canal (later the Gedempt Hamerkanaal) had

enough depth for seaworthy ships, around 1930-1933.

figure C.6: The Noordergasfabriek under construction, around

1913.

figure C.8: Machine and trade factory of Louis Reijners (now: Pand-Noord), 1949.

figure C.9: Meeuwenlaan, corner of Motorkade (now: Schöne

laboratory), 1952.

figure C.10: Streetcar at the Meeuwenlaan, 1953.

Appendix C


173

figure C.13: Kores paper factories and the canal structure of what later became the Motorkade and Gedempt Hamerkanaal,

1972.

figure C.11: Kromhout machine factory in the 60s. figure C.12: Allotment gardens, right next to the acid factories

of Ketjen / Akzo-Nobel, 1969.

Appendix C


174

figure C.14: Ship building factory of the Verschure wharfs, around 1975.

figure C.15: Bird’s view on the former Kromhout factory, around 1982.

Appendix C


175

figure C.17: The filled-up canal of the Johan van Hasseltweg before (1988) and after (1998).

figure C.16: Filling up the canal of the Gedempt Hamerkanaal, around 1995.

Appendix C


References

Anderson, J. (2009) Understanding Cultural Geography: Places and Traces, London: Routledge.

Images

figures C.6 - C.13, C.16, C.17:

Bongers, W. (red.) (1998) Nieuwendammerham, een eeuw

lang bedrijvigheid, Amsterdam: Stichting Historisch

Centrum Amsterdam-Noord.

figures C.14 and C.15:




Amsterdam-Noord.

Appendix D



Our research process has been organized in different phases. These phases are the basis to explain the progressive insights in how to design a sublime work landscape for the Hamerstraatgebied. Upon each phase a reflection is included in the report, chapters 4, 5 and 6.

IntroductionD.1

Within the phases different design considerations are included. The used methods are:

FIRST PHASE • analysis and design by in-photo-

sketching from the clues to a possible manifestation of the clues;

• analysis and design by photo manipulation from the clues to a possible manifestation of the clues;

• design interventions by in-photo-sketching of dynamic transitions (movement from one point to another) to a possible manifestation of the clues;

• design interventions by in-film-manipulation of dynamic transitions to a possible manifestation of the clues.

SECOND PHASE• analysis and design on geographical

locations and behaviour of personas towards an experience-steering and persona-based design intervention;

• analysis and design on preferences of personas towards an experience-steering and persona-based design intervention.

THIRD PHASE• analysis and design of work rhythms

and preferences of personas towards work rhythm-based design interventions;

• analysis and design on interactions between persona and landscape, by steering and scripting different experiences on a linear pier;

• analysis and design on interactions between persona and other personas, by affording behaviour and steering gaze on a public square.

179

figure D.1: Research scheme and the position of the three phases.

The scheme below shows our design and analysis figures, grouped in the three phases.

Appendix D


Design consideration of the first phaseD.2

figur

e D.

2: In

vent

ory

of d

omin

ant e

xper

ienc

es w

e fo

und

in th

e ar

ea.

1.

2.

3.4.

5.

6.

181

4. Cars act in a rumble play of parking, Spijkerhaven.3. No ownership of a vacant plot, Spijkerhaven.

2. Repetition of buildings accentuate speed within the street,

Hamerstraat.

5. Historical elements work alienating, Spijkerhaven.

1. Contrast between green oasis within grey surface,

Beitelkade.

6. Fortress Schöne, Meeuwenlaan.

figure D.3: Description of dominant experiences.

Appendix D


182

figur

e D.

4: M

appi

ng p

ossi

bile

exp

erie

nce

in s

ub-a

rea

1 of

the

Ham

erst

raat

gebi

ed.

Appendix D


183

figur

e D.

5: M

appi

ng p

ossi

bile

exp

erie

nce

in s

ub-a

rea

2 of

the

Ham

erst

raat

gebi

ed.

Appendix D


184

Voidness: “The emptiness of the area is striking. There is

only the unfriendly, hard pavement and blind walls. From the

windows, invisible eyes lurking down on me, strengthening

the feeling that I am really alone here. The wind is blowing

through the reed, ephasing that I am standing alone in this

voidness, this dead open space.”

Pride: “Going to work, I always pass this sign and I am

remembered that I work in this building. This the name of the

building, indicating the place next to the river IJ. I always tell

people that I work in this building, which gives me a feeling

of pride and deeper connection to the location.”

Awe: “How can you not stand still and gaze at this factory for

a while? Seems like the building and its towers are bending

over at me! Some of the pipes look really old.. Is it actually

still safe and secure to be so close? The humming sound

of whatever is produced here, seeing the smoke that the

factory releases is just awesome.”

Indeterminacy: “I often come here to rest after a hard day of

work. The constant flux of water of the IJ goes on and on and

it calms me. Though not streaming very fast, the river seems

so strong and the power of the water is unstoppable. If I look

to the right I can see the central station, but if I look to the

left I can look infinitely and indeterminately far. Can it see the

IJsselmeer already there?”

figure D.6: Connecting in-photo sketches with a narrative description: highlighting located experiences by sketching and textual

description.

Appendix D


185

Excess: “All those multi-tenant buildings in this area.. Offices

come and go, I can not keep updated who’s working here.

Looking at the gates, there are so many logos. Actually I

think there are so many of them that it almost becomes

excessive. I remember Deep ‘cause they own the building

and I can recognize their style in the building’s architecture.

But the rest of them is just all of the same to me.”

Fear: “This gate is always closed. It is not that I want to

enter the lot, but why so unfriendly? And it is not only the

closed gate, but also the cameras on the building and the

sign of the guarding dogs on the fence. Actually, it gives me

a feeling of fear so I turn around and walk back. How can

someone even enjoy working for this company?”

Fear: “I know that this is a semi-public area but if I want to

enter the place, I always have to come across this gateway.

Cameras, fences, barbed wires.. It looks as if they fear every

intruder and feel the need to protect their property. Why can I

not enter the waterfront without passing this fearful area?”

Difficulty: “This is what is so typical of business parks: the

absence of footpaths or even a clear pedestrian route at all.

Cars are allowed to park everywhere, so I am forced to use

the street. This makes it very difficult to find my way and to

know whether I am even allowed here as a pedestrian. Isn’t

that strange?”

Appendix D


186

Pleasure: “This is my favourite spot in the area. Everytime

I pass this field of grass, I feel enjoy and pleasure from it.

Although it is a small place, the trees are old and beautiful,

expecially in contrast to the cheap architecture of the car

showrooms. In summer, I often feel the urge to step out of

my car and have a picnic here, but I have never done so far.”

Strangeness: “This is so remarkable: I though that this

empty lot was vacant and had no use, until the day that it

was filled with those buildboards. They were there suddenly,

but were gone again a week later. Like someone bought the

whole bunch of it and sold it through. I find these dynamic

happenings often very strange.”

Solitude: “I always go to this spot near the water when I need

a moment to rest from work, or to think. The solitude of the

area and the passing ships on the river give me a feeling of

melancholia and inner calmness, almost sadness. This tree

is my favourite, standing there proudly and alone in the open

wind. It probably feels as lonely as me.”

Reflection: “One day I went out for a walk and noticed these

old buildings for the first time, enclosed by the regular new

office buildings. As if they weren’t there before! I asked

around and learned that this was a former gas factory and

was actually one of the first buildings in the area. I wasn’t

aware that this place is actually so old! This moment of

historical reflection I will never forget.”

Appendix D


187

Vastness: “Do you think Amsterdam is a narrow city? Maybe

the old city center is, but on this side of the river you still find

these vast and open areas. The perfect place to escape from

the intense city life! You can do whatever you want on this

lot, it’s so big. With the wide open river next to it, it feels like

this vastness is never ending.”

Suppression: “This land is privately owned. The owners seem

to neglect it, because there is hardly any use of this space.

It is such a shame that this land has no use at all and that I

cannot enter because of the fences. I find this so unfair. In a

way I call this suppression; who are you to tell me that I am

not allowed?”

Surprise: “Passing the empty lots and blind walls of the

Hoyer area, you wouldn’t think that there is this theater called

M-Lab, just around the corner. It is a place where you can

always hear people playing music. It is suprisingly lively and

sociable, especially when the sun is shining.”

Lust: “Taking the ferry is a moment of rest during my trip

to work. I sometimes talk with people on the ferry, because

we all work in the same business area and feel connected

in some way. Some day, I’ve even flirted with one of the

nice girls from the office across the street. The ferry trip,

although very short, is important to me because it offers me

a moment of lust and pleasure to go to work.”

Appendix D


188

figure D.7: Designing for experiences, location Spijkerhaven: competition, voidness, pleasure, privation and suppression.

Appendix D


189

figure D.8: Designing for experiences, location Motorkade: indeterminacy, voidness, loathing, ambition, desire, threat, joy,

danger, lust and fear.

Appendix D


190

figure D.9: Designing for experiences, location Johan van Hasseltweg.

Unknown: “I would love to strawl throught this garden but it

is unknown whose it is or what it is for.”

Uncanny: “I know these routes are publicly accessible, but

passing the lots and the fences feels so uncanny.”

Relief: “After a long day of work I relax and find some relief

in this park.”

Soiltude: “The wind blowing through reed and willow trees

gives me a feeling of solitude.”

Appendix D


191

figure D.10: Designing for experiences, location Mokerstraat.

Anxiety: “Taking these small routes and passing these

buildings so closely makes me anxious.”

Reflection: “The buildings are reflections of time, emphasized

by the elementary water surfaces.”

Surprise: “It was quite a surprise when I found out that these

buildings enclose a hidden square.”

Voidness: “The voidness I feel when sitting on this bench is

overwhelming.”

Appendix D


192

figure D.11: Designing for experiences, location Hoyer terrain.

Surprise: “Turning the corner and seeing this urban park for

the first time was quite a surprise.”

Reflection: “The paintings on the wall is a direct reflection of

the city’s skyline on the other side of the river.”

Indeterminacy: “I sometimes go and sit here on the benches

to watch the river stream indeterminately.”

Pride: “When I stand on top of these follies watching at the

Amsterdam skyline I always feel proud of myself.”

Appendix D


193

figure D.12: In-photo collages: how to steer current situation into a more intensive experience?

Suppression

LustAmbition

Appendix D


194

figure D.13: Designing the influence of light when it gets dark.

Appendix D


195

figure D.14: Design based on the intimite contact between user and material.

Appendix D


196

figure D.15: Sketching on different uses of the area. Here the design seperates the functional (parking, ground floor) with the

experiential (first floor).

Appendix D


197

figure D.16: Modelling with different uses of the area.

Appendix D


198

figur

e D.

17: M

appi

ng d

iffer

ent t

rans

ition

s in

the

area

, ana

lyzin

g of

exp

erie

nces

suc

h as

anx

iety

, diff

icul

ty a

nd re

lief.

Appendix D


199

figure D.19: Sketching of routes between locations as elements of a new pedestrian network.

figure D.18: Analyzing current pedestrian network (left) and a possible pedestrial network (right).

Appendix D


200

figur

e D.

20: M

appi

ng ro

utes

and

vie

ws;

ana

lyzin

g on

diff

eren

t pas

sage

s (in

red)

.

Appendix D


201

crossing comfort zones self-awareness

reflection

fear

relief

uncanny

curiosity

surprise relief

uncanny

figure D.21: Analyzing experiences while walking through two different passages.

Appendix D


202

figure D.22: Designing an experience by in-filmframe-collage of a route through private property.

Appendix D


203

figure D.23: Designing an experience by in-filmframe-collage of a route through public land.

Appendix D


Design considerations of the second phaseD.3

figur

e D.

24: T

he lo

catio

n of

per

sona

s in

the

Ham

erst

raat

gebi

ed.

205

figure D.25: Analysis for what activities the personas use the different landscape elements (parking, working, eating, strolling,

meeting, relaxing).

Appendix D


206

figure D.26: Persona-based design for an experiential park at the private Hoyer terrain.

Jos: “This spot is the best place to invite my work relations because the view over the IJ river is spectacular.”

Frits: “I often sit here during lunch breaks and sometimes I even go and hire a flexdesk to do my administration work.”

Appendix D


207

figur

e D.

27: D

esig

n of

a m

aste

rpla

n fo

r an

expe

rient

ial r

oute

thro

ugh

the

inne

rspa

ces

betw

een

the

build

ings

.

Appendix D


208

figure D.29: Exploration of potential use of the Schaafstraat by the personas after intervention.

figure D.28: Analysis of current use of the Schaafstraat by the personas before intervention.

Appendix D


209

figure D.30: Persona-based design sketches based on different use of the location.

Appendix D


210

figure D.31: Study on how different designs would trigger different actions with each persona.

Appendix D


211

figure D.32: Design based on the different actions of each persona in the area.

Appendix D


212

figure D.33: Inventory of the relations between personas.

Appendix D


213

figure D.34: Inventory of the relation between personas and their stage: whether they like to see or to be seen.

Appendix D


214

figure D.35: Design intervention based in the different stages for different personas.

1. 2.

Appendix D


215

figure D.36: Views from and to these stages.

View 2. Marian, Frits and Jos relaxing and seeing Abdel work.

View 1: Abdel working and being seen.

Appendix D


216

figure D.38: Inventory of movement of the different personas and the visible area (22 meters) from the facades of the buildings.

figure D.37: Analysis: 22 meters is the maximum distance to see others; 7 meter is the maximum distance to see, hear, smell

others.

Appendix D


217

figur

e D.

39: D

esig

n ba

sed

on th

e di

ffere

nt d

ista

nces

that

are

impo

rtan

t for

hum

an c

onta

ct. 2

2 m

eter

bas

ed o

n ou

r vis

ual l

imit

and

7 m

eter

bas

ed o

n ou

r ora

l and

voc

al li

mit.

Appendix D


218

figure D.40: Analysis: every place contains a different atmosphere.

figure D.41: Design of a route connecting theses atmospheres.

Appendix D


219

figure D.42: Persona-based design of an experiential route through the landscape.

Appendix D


220

figure D.43: Persona-based design for a waterpark at the GVB harbour.

Appendix D


221

Frits

: “Th

e in

dust

rial

atm

osph

ere

of th

is te

nant

, and

the

pres

ence

of

both

crea

tive

and

ente

rtai

nmen

t fir

ms,

is a

stim

ulat

ing

wor

k ex

peri

ence

.”

Frits

: “Th

e em

bank

men

t with

bo

ardw

alks

and

stai

rs g

ive

me

spac

es to

wor

k, re

lax

or to

mee

t. It

is a

gre

at e

xper

ienc

e th

at y

ou ca

n ea

slily

reac

h th

e ri

ver w

hile

bei

ng

at w

ork.”

Jos:

“The

sigh

t lin

es to

the

harb

our

are

spec

tacu

lar.

This

is so

met

hing

I a

lway

s tel

l my

clie

nts.

The

open

ness

mak

es m

y fir

m so

muc

h m

ore

visi

ble

than

bef

ore.”

Frits

: “Th

ese

wild

flow

ered

roof

ga

rden

s offe

r a cr

eativ

e w

ork

expe

rien

ce w

here

I ca

n si

t and

w

ork

or e

njoy

my

lunc

h br

eak

toge

ther

with

colle

ague

s and

wor

k re

latio

ns.”

Jos:

“The

vie

w o

n th

e fe

rrie

s, co

nsta

ntly

saili

ng o

ut, e

mph

asis

es

the

stro

ng d

ynam

ics i

n th

e H

amer

stra

atge

bied

. I re

cogn

ize

thes

e dy

nam

ics i

n m

y ow

n w

ork

expe

rien

ce.”

figur

e D.

44: P

erso

na-b

ased

des

ign

for a

wat

erpa

rk a

t the

GVB

har

bour

.

Appendix D


222

figure D.45: What Frits and Jos could see and do when being on the ponton at the end of the pier.

Appendix D


223

figure D.46: The experience of entering and leaving the pier.

Appendix D


figure D.47: Work rhythms of the personas, in relation to domestic rhythms and leisure rhythms (based on theory of Rhythmanalyis).

Design considerations of the third phaseD.3

225

Appendix D


226

figure D.49: Location’s choice: the harbour of the GVB (city’s ferry transit institute).

figure D.48: Inspiration is found in the qualities of the river: views, dynamics, weather, water transport, etc.

Appendix D


227

figure D.50: Rhythms of the personas on this location.

Appendix D


228

figure D.50: Location and behaviour of the personas on a part of the Hamerstraatgebied.

Appendix D


229

figure D.51: Design by steering experiences.

Appendix D


230

figure D.52: Design by scripting the experience (blow-up representation).

Appendix D


231

figure D.53: Different experiences of the pier: from personal space and enclosement to openness and exposure.

Appendix D


232

figure D.54: The river provides different atmospheres.

Appendix D


233

Appendix D


234

figure D.55: Resulting design intervention.

Appendix D


235

Appendix D


236

figure D.56: Gazing through the window to see other personas moving around.

Appendix D


237

figure D.58: Analysis: location of personas.

figure D.57: Analysis: gazing from the facades.

Appendix D


238

figure D.59: Inspiration of canal structure which once was under the influence of waves and tides.

figure D.60: Design intervention: representation of waves into a public space.

Appendix D


239

figure D.61: Design intervention: representation of waves into a public space.

Appendix D


240

figure D.62: Stoned waves afford different actions and interactions, fitting within the work rhythms of the personas.

Appendix D


241

Appendix D


242

figure D.63: Resulting design intervention.

Appendix D


243

figur

e D.

64: V

isua

l int

erac

tion

stee

rs b

ehav

iour

and

exp

erie

nces

.

Appendix D


Appendix EAppendix E



IntroductionE.1

This appendix describes chronologically the social study within our research. It starts with the gathering of information on the users of the Hamerstraatgebied, via the results, towards detailed information on each persona.

The appendix includes:• the questionnaire as we used in the

research, both the English and Dutch version;

• an impression of how the questionnaire was filled in;

• the results of the questionnaire;• a second result of the questionnaire:

personal stories told to us by the respondents;

• the results of the questionnaire for each persona specific.

247The questionnaireE.2

figure E.1: Questionnaire (English version) as used in the research.

248

Appendix E


249

Appendix E


250

Appendix E


251

Appendix E


252

figure E.2: Questionnaire (Dutch version) as used in the research.

Appendix E


253

Appendix E


254

Appendix E


255

Appendix E


256

Appendix E


257

figure E.3: Appendix to the questionnaire: categorization of the job sectors based on .

Appendix E


figure E.5: People filling in the questionnaire.

Filling in the questionnaireE.3

259

figure E.6: Our preparation scheme for contacting people in the Hamerstraatgebied to fill in the questionnaire.

Appendix E


figure E.7: Where do you live?.

figure E.9: What modes of transport do you use to come

here?.

figure E.11: What do you use the

Hamerstraatgebied for?.

figure E.12: If you use the Hamerstraatgebied for more activities than work, what are

those activities?.

figure E.8: What is your age?.

figure E.10: In which sector do you work?.

General resultsE.4

261

figure E.15: Which experiences would have the most impact on you?.

figure E.13: Do you ever have these experiences in the Hamerstraatgebied?.

figure E.14: Word cloud of the experiences most recognized by respondents.

Appendix E


262

figure E.16: Locations of workplaces of the respondents (and the corresponding number of the respondent).

Appendix E


263

Appendix E


264

figure E.17: Locations of the respondents that are used for other activities than working.

Appendix E


265

Appendix E


266

figure E.18: Commuter routes of the respondents.

Appendix E


267

Appendix E


268

figure E.19: Walking routes of the respondents.

Appendix E


269

Appendix E


Personal storiesE.4

figure E.20: Stories we were told when people were filling in the questionnaire.

271

Appendix E


272

Factsheet persona 1: Abdel

Description of AbdelAbdel is a real craftsman. He has a Moroccan background, who had lower education but can work well with his hands. Abdel is good in what he does; the production and repairment of products. He works under his boss as a regularly paid worker. This offers him certainty of work, which is very welcome because Abdel has to provide for his family. His job demands fixed work hours and a daily regular time planning. It is a stable factor is his life. Of course there are sometimes deadlines to meet for a certain client, but most of the time Abdel is just doing his job without any strong dynamics.

Abdel arrives at his work by car, which he parks at his own lot. He uses the Hamerstraatgebied mostly for work and very little for other activities. At most, he goes out for a walk or lunch. Nevertheless, he is well aware of the ins and outs in his own street. He knows most of his neighbours and the people passing by. If you ask Abdel, his ideal work landscape should look clear and safe, and has not any disturbances.

figure E.23: Sector of work,

figure E.21: Age. figure E.22: Place of residence.

figure E.24: Mode of transport.

Including (7)N005 - joiner / furniture maker (Zamenhofstraat)N007 - greenery worker (Ged Hamerkanaal)N008 - greenery worker (Ged Hamerkanaal)N015 - car mechanic (Zamenhofstraat)

N026 - artist / joiner (Zamenhofstraat)N027 - electrician (Zamenhofstraat)N031 - automotive glass specialist (Schaafstraat)

Results per personaE.5

Factsheet persona 1: Abdel

273

figure E.27 Timetable of an average workday.

figure E.25 and E.26: Use of the Hamerstraatgebied and practiced activities.

figure E.28: Experiences most present.

Appendix E

Questionnaire and results 273

274

Key experiences of AbdelAbdel has a varied range of experiences in the Hamerstraatgebied. Some are very strong, others he doesn’t recognize at all. There are few experiences that he finds important, most of them he wouldn’t bother about.

He experiences high levels of ambition and perfection. He is a hard worker and wants to deliver his work as good as possible. When not done precisely, the result would be directly be reflected upon his capabilities as a worker. The work can offer him an experience of ecstasy, which is caused by the long-term projects and the work which can be very monotonous. Abdel then becomes immersed by the work and loses his time and space experience. This kind of work can be very satisfying. Abdel finds it important that he can be proud of the work he delivers, an experience that he often has after a project is done and the client is satisfied.

Abdel sometimes experience solitude in his work, and he considers this an important experience to him. Especially when he works alone from his colleagues, or feels that he doesn’t really connect well with his colleagues. The job simply doesn’t offer in a great social life. This makes that the work to Abdel can be an isolated or solitary activity. Abdel doesn’t experience hardly any fear, threat or suppression. He is a confident man who knows his boss, colleagues and neighbours very well, so nothing to fear from them. But at the same time, when he would be suppressed or threatened he wouldn’t admit it very easily.

Unfortunately, Abdel also doesn’t experience much lust or excess in his work. You can say that his experience of work is very rational and flat, and that Abdel sees work never as something that can or should be fun. He does his job to get a proper income and because it is expected from him.

figure E.29: Experiences most impact.

Appendix E

Questionnaire and resultsE

275

Factsheet persona 2: Frits

Description of FritsFrits is young, driven and looks for challenges. He has a creative mindset, and his focus is to produce new and innovative products. The work he does can mostly be placed in the design and media sector, although he easily works together with other disciplines. Frits’s work is often project-based and he therefore has flexible work hours: sometimes there is not much work, sometimes there is a lot so he has to work till late in the evening. At his work, Frits gets a lot of freedom and responsibility, which is stimulating for his creativity and self-development.

Frits goes to work by bike and public transport, but he takes the car not very often. Frits feels a strong connection to his work landscape and knows his neighbourhood very well. He stays involved in what happens in the Hamerstraatgebied. He uses his work landscape for more activities than working only; he also uses it for eating, meeting, relaxing and walking. His ideal work situation supports in all those activities. It is a stimulating environment which evokes, creativity social interaction and encounters.




Including (14)N001 - architect (Ged. Hamerkanaal)N004 - stylist / art director (Zamenhofstraat)N017 - chef at restaurant (Aambeeldstraat)N029 - designer in retail (Johan van Hasseltweg)N030 - graphic designer (De Overkant)N032 - designer/ sewer (Zamenhofstraat)N033 - designer/ sewer (Zamenhofstraat)

N034 - styling assistant (Johan van Hasseltweg)N037 - freelancer video production (De Overkant)N038 - filmmaker in video production (De Overkant)N039 - designer / consultant (De Overkant)N043 - executive production manager (De Overkant)N045 - architect (Gedempt Hamerkanaal)N050 - creative business manager (Meeuwenlaan)

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figure E.36: Timetable of an average workday.



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Key experiences of FritsFrits has a wide range of experiences in the Hamerstraatgebied. Some are stronger than others, but he can recognize himself in most of the named experiences.

Frits experiences much pleasure in his work. He has a nice job. His job is also his hobby; his colleagues are also his friends. After work, they often together go for a drink, and during breaks there is time for some play and entertainment. He experiences much ambition in his work and finds this experience very important. Together with his colleagues he works on projects in which he strives for success. This high level of ambition keeps him focussed and challenged. Frits experiences much pride in his job, but also for the area he works in. The location and industrial appearance of the tenant building he works in is a cool factor of his work landscape. He also experiences a high level of self-awareness in his work; this is the place where he does what he likes and where he completely can be as he likes.

Frits thinks surprise is very important to his work, because this keeps it from becoming monotonous and boring. He experiences also much strangeness in his work, everyday he is confronted with new challenges and situations. Also in the Hamerstraatgebied some strange situations or developments can happen, which are characteristic for the dynamics of the area. Frits experiences much tension in his work, because often there are deadlines that are met, which can cause some stress. But this is a healthy kind of stress which works stimulating for him.

Frits experiences hardly any threat at his work, it is a safe environment and the area of the Hamerstraatgebied contains no harmful activities or threatening situations at all. He also experiences hardly any suppression in his work; he is an independent worker and doesn’t work under the supervision of a boss.


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Factsheet persona 3: Marian

Description of MarianMarian is a paid employee of a bigger company. Most of the time she performs desk work, and is responsible for a certain task. She is young and driven. Her work hours are mostly fixed, but can demand her full attention when needed. In times that there is a lot of work to do in the company, she is expected to finish it on time. The work she does is very important for the continuity of the company and the projects.

Marian goes to work on her bike or by car. She doesn’t use the Hamerstraatgebied very frequently for other activities, although sometimes she goes out for shopping, eating or relaxing. Her ideal work landscape offers places for relax and to meet. She looks for social encounters and a clear and organized environment.




Including (13)N014 - employee at Historical Centre (Van Hasseltweg)N016 - controller in music management (Ged. Hamerkanaal)N019 - communication/PR at fashion modefabriek (Ged. Hamerkanaal)N022 - consultant at disabled care (Van Hasseltweg)N023 - consultant at disabled care (Van Hasseltweg)N025 - salesman in economy (Johan van Hasseltweg)N035 - office manager in music management (Ged.

Hamerkanaal)N036 - controller in music management (Ged Hamerkanaal)N042 - marketeer in retail (De Overkant)N044 - PR & marketing (De Overkant)N047 - IT technician (Johan van Hasseltweg)N048 - sales (Johan van Hasseltweg)N051 - marketeer (Meeuwenlaan)

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Key experiences of MarianMarian has a varied range of experiences in the Hamerstraatgebied. Some are stronger than others, but she can recognize herself in most of the named experiences. Some experiences don’t have an impact on her.

Marian’s strongest experience is tension because she always has tasks which has to be done on time. If this fails, she will be accounted for. Getting her tasks done on time and being good in her work is a source of ambition for her. Although the tasks are clear and mostly uniform, this can be quite heavy to her, but can also offer some experience of pride when succeeded. This same pride she feels also for the company she works for her when it is successful.

When there are situations that are unexpected or different, this can cause an experience of strangeness or surprise to her. She is not really flexible in her work, so these experiences can have a large impact on her. Solving these irregularities is one of her biggest challenges in her work. She also experiences self-awareness in her work, especially in situations when she works together with her colleagues and she is asked to draw a line.

Marian experiences not much ecstasy in her work because the work she does is mostly short-term. Her job consists of a collection of individual small tasks, which doesn’t allow her to be immersed by it. Sometimes she experiences fear in the area, especially when she has to cycle home alone when it is dark. You’ll never know what can happen in this area!


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Factsheet persona 4: Jos

Description of JosJos is a man in the beginning of his forties. He is positive minded as he is all the time scouting for new possibilities for his company. He already is in business for quite some time and knows were to pull some strings if something needs to be sone. He has already an established network but he still likes to meet new people. Being in charge of an established company makes him less flexible in the opportunities he searches for. He is a driven personality who does not mind to put that extra effort into work and does expect the same from his employees.

Jos has to meet a lot of people and therefore owns a car that is representable. He uses the car not only to visit relations and clients, but also to go to work. When he has a meeting with a client he sometimes goes to Hotel Goudfazant, a local restaurant in the neighbourhood. To keep a sharp eye for possibilities he makes a stroll everyday and observes his environment. This makes that he is aware of the activities that happen in his environment. His ideal work environment is one that is representable to outsiders yet still evokes social interaction and encounters.

figure E.50: Sector of work.



Including (14)N003 - project manager at Amsterdam (De Overkant)N011 - owner / manager childcare (Beitelkade)N013 - owner / salesman / merchant (Zamenhofstraat)N018 - owner / manager at restaurant (Aambeeldstraat)

N020 - owner snackbar (Meeuwenlaan)N024 - project manager economy (Van Hasseltweg)N028 - planner in retail (Johan van Hasseltweg)N040 - owner / manager in engineering (De Overkant)N041 - owner / manager in retail (De Overkant)

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Appendix E


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Key experiences of JosJos knows the Hamerstraatgebied and experiences a lot in this area. All the activities that are developing in the area makes Jos searching for new opportunities for his company, this gives him a sense of ambition. Seeing all these new startup companies in the area reminds Jos of the beginning of his company. Working with all these people that are driven gives Jos a lot of pleasure.

Jos is the head of an established company and as such it is important that everything reflects the strength of his company. As such he is always searching for perfection, whether this is something on the workfloor or something outside. He does not like it when he notices that some dirt is lying in the street. Even though it is public area, it still does damage to the image of his company. This is one of the reasons that Jos keeps track of activities that are happening in the area.

The fact that Jos is aware of all these happenings also gives him a sense of pride. He has been working hard for his company and now it is an established company in the area, where he knows a lot of other entrepreneurs. Being in charge the whole time makes that he has to reflect a lot, otherwise it would not be possible to make good decisions. This reflection also leads to Jos having a lot self-awareness.

As Jos is searching for new opportunities, he his hardly impressed by awe, fear or even difficulty. He notes that one should not be afraid in his own environment, it is about feeling in charge. And maybe a first sense of fear could just be a new opportunity to arise. It should however be noted that he does not like it when a client might feel danger while visiting the area. As Jos is in control he does not feel any suppression.


Appendix E


works of the sublime, by abel coenen and sascha geneste

Documents

work landscape

wageningen universityir

piece of work

behaviour of people

sublime design

final master thesis

paul ronckenexaminersir

city of amsterdam