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riosity, surprise and anticipation of a planned journey; on the other hand, these pu- S3
blic spaces are likely to produce feelings such as fear all the way to disgust. This
clearly shows how people connect emotions in different ways. Only very rarely is
it possible to filter out a single emotion – in most cases, rooms are characterized by
the mixing ratio of emotions. In a test series, curiosity was always connected with Ärger
the element of surprise and was then positively linked with pleasure or negatively Freude
with fear, anger or disgust. Trust, pleasure, fear, surprise and curiosity are the emo-
tions most frequently found in an interior. The persons interviewed were able to
clearly and very quickly identify all of them. It was very difficult to define disgust
and anger, however. The same goes for grief whereby this was often associated with S1 S1
the emotion trust. Based on this, a classification into groups of all that emotions can Ekel
be established: trust and grief, pleasure, surprise and curiosity, fear, anger and dis-
gust. A person seeks out the room corresponding to his or her currently emotional Neugierde Neugierde
state. It is also a goal to always produce an indirect reflection of the personal emo-
tional state or to deliberately change it with contrariness. Should the idea of a mea- Neugierde
surement method be further developed so we could measure the individual sensa-
tion in a room, it would be possible to adapt the result of this for instance offices,
Überraschung
schools, hospitals and hotels much more precisely to people and their needs as well
as emotions. Neugierde Vertrauen S2

A circuit of emotion with “trust” as an example
S2
The “circuit of emotions” following the measuring is to bring the emotional design
into the foreground and thereby prove that we have to be aware of our built envi- S3
ronment. Physically and psychologically, the visitors immerse themselves in world Grundriss Erdgeschoss • Ground floor plan
of experience. It has to be noted that emotions always only play inside human
beings (physically and psychologically). The room becomes a catalyst, the trigge-
ring moment, the catch basin and mirror of specific emotions. The design concept „Wenn die gebaute Umwelt immer digitaler
refers to the principle or a horizontal sequence of rooms. The layout collates the pre- wird, entsteht eine unglaubliche Sehnsucht
viously established sets of emotions and brings them into an intriguing context. De-
pending on a person’s mental state, rooms are preferred or even avoided. The basic nach Materiellem und Greifbarem.“
volume of a square measuring 30 by 30 metres is hollowed out depending on the Nina Marissa Müller
use to create a free space for human sensations. Quite deliberately, no specific emo-
tion is revealed from outside in order to rouse curiosity. The inner experience is not
visible on the outside. The objective is to design a holistic room experience which
is able to attract the visitors. Everything that is experienced in the exhibition is fil-
led with emotion. A choreography is created for the room which vacillates between
positive and negative emotions and brings these into balance. Starting with curio-
sity, the visitors are welcomed and directed into the interior of the building. The cir-
cuit is designed as a roundaout route and can be accessed from both sides to gather
Freude Trauer Neugierde
different impressions depending on the sequence. Stylistic elements are deliberately
taken up several times to produce a link between the individual rooms. Trust is a
basic instinct which wants to be satisfied at any time of one’s life. Contrary to fear Schnitt 1 • Section 1
or anger, this room serves as a quiet zone. The trust room is centrally accessed and
allows a view outside to observe what is happening. The shaft connects the ground
floor with the lower level and passing persons can be observe to survey what is
happening outside the door. Protection is the priority. A calm emotion requires a
calm form which is customary and familiar. It invites to rest, does not pose a threat Vertrauen
and transforms only slowly. The circular shape creates harmony, a focus of concen- Überraschung Neugierde
tration and closeness in the room that envelops the visitors. The suggested funnel
Angst
shape brings dynamics into the room and is intended to dissolve the spatial bor-
ders. The “trust room” seamlessly merges with the sky. Depending on the time of
day and the season, different moods can be captured. Sitting and lying down here Schnitt 2 • Section 2
means coming to rest, letting go and trusting. The room is deliberately designed to
be small to keep the number of visitors low and make maximum relaxation possi-
ble. The sound of a room plays an important role for trust. Due to the “warm or
soft” looking surface, sound is absorbed with the help of a perforated area and an
undisturbed environment is generated. It has to be noted that trust is often connec-
ted with textiles since look, structure and feel are decisive for this sensation. In the Ärger
concept, the textile level has deliberately been reduced to a minimum. With the im-
Neugierde
pression of a fabric, an approximation is produced that, however, leaves scope for
interpretations. Over time, trust is loseing its attraction and all the visitors are
prompted by curiosity to move on. Schnitt 3 • Section 3

AIT 6.2020 • 111