Feven Tesfay

School of Architecture and Urban Planning
Author Feven Tesfay
EMOTIVE AND ENTERTAINING PLACE

IN MEKELLE CITY
Degree Thesis
Mentor PhD Dominika Batista
Mekelle, Ethiopia
2016 G.C
Contact address
Miss Feven Tesfay hallonanny@gmail.com
Mekelle University hallonanny@yahoo.com
Mekelle, Ethiopia Instagram @ feven.tesfay
Tel +25191299703 Twitter @Feventesfay
+251937006687 Facebook @ Feven.Tesfay.50

EMOTIVE AND ENTERTAINING
PLACE IN MEKELLE CITY

Relationship between architecture and psychology in entertainment design and users
emotional link to the buildings and their response to the architecture
Author Feven Tesfay
Ethiopian institute of technology- Mekelle University
Mekelle, Ethiopia
15th February, 2016 G.C
Author Feven Tesfay
School of Architecture and Urban Planning, Mekelle University
Mentors
Mentor PhD Dominika Batista, School of Architecture and Urban Planning, Mekelle University
Co‐ Mentor
MSc Konno Bodda, School of Architecture and Urban Planning, Mekelle University
MSc Daniel semunugus, School of Architecture and Urban Planning, Mekelle University
MSc Semere Zeru, School of Architecture and Urban Planning, Mekelle University
MSc Samuel Bekelle, School of Architecture and Urban Planning, Mekelle University
MSc Ataklti Kiflom, School of Architecture and Urban Planning, Mekelle University
MSc Azeb Tesfay, School of Architecture and Urban Planning, Mekelle University
MSc Binyam Teklu, School of Architecture and Urban Planning, Mekelle University
MSc Ephrem Nigussie, School of Architecture and Urban Planning, Mekelle University
MSc Abreham Belay, School of Architecture and Urban Planning, Mekelle University
MSc Kinfe Abzo, School of Architecture and Urban Planning, Mekelle University
MSc Haile Gebreegzibher, School of Architecture and Urban Planning, Mekelle University
Declaration
I declare that the thesis project entitled Emotive and Entertaining place
describes work undertaken as part of bachelor degree at Ethiopian Institute of
Technology- Mekelle University, School of Architecture and Urban Planning, is
my original work and has not been presented in any university. All views and opinions
expressed therein remain the sole responsibility of the author. I also declare that all
sources have used or quoted have been indicated and acknowledged by means of
complete reference.
Name Feven Tesfay Belay
Signature
Date
Authentication
Description
A thesis submitted to School of Architecture and Urban Planning, Ethiopian
Institute of Technology- Mekelle (EiT-M), Mekelle University, in partial
fulfillment of all requirements for the award of a bachelor degree in architecture
and urban planning.
Title-Emotive and entertaining place in Mekelle city

Author- Feven Tesfay Belay
Advisors Name
PhD Dominika Batista, School of architecture and urban planning, Mekelle University
Signature Date
Board of examiners
Adjudication committee
External examiner
Name
Signature Date
Name
Signature Date
Internal examiner
Name
Signature Date
Name
Signature Date
Name
Signature
Date
Summary i
Summary
In entertainment places emotions play vital role. There is no entertainment without
emotions. This is influenced manly by the psychology of the people. Episodes of
emotions develops the entertainment experience. Architecture contributes to a solution
of two problems for a theory of entertainment: the irony of negative experiences and
the perceived reality of entertainment content. It also helps in the development of the
theories and experiences of the architectural psychology. The integration between the
emotion and the entertainment by the psychology and culture of the users is the
challenge of this project. This research is to study the human psychology in connection
with architecture and help design entertainment center with language and emotional
attachment by conducting it with case studies, literature reviews, data collection and
analysis, recommendations and finally design project.
The first chapter of the research narrates about the lack of entertainment in Mekelle as
a problem and explains the problem in connection to architecture and psychology that
is emotional response. It describes the limitations, scope and structure of the thesis. It
is the introduction of the whole project. The second chapter reviews different books
articles and journals, defines the terms like emotive, architecture, psychology, and
entertainment. It goes it to the history time lines of this terms and the different types
are listed. It looks in to the entertainment culture of Mekelle and the impact technology
has on the entertainment industry. The different approaches and methods to tackle the
problem is explained. Some of this approaches include the psychological approach, the
organizational and managerial approach, user approach, and architectural approaches.
Then it describes the different methods to set tone to the design by the elements of art
and the spaces to give emphasis to.
In the contextual research section (chapter 3) states the data collected by the picture
illustrated interview to the people of Mekelle and analyzes it. Chapter 4 summarizes
the research and changes the recommendation it to design brief. Finally, a design is
proposed as an illustration to the recommendation.
February 15, 2016

ii EMOIVE AND ENTERTAINING PLACE IN MEKELLE CITY
Acknowledgement
To those members of the university who were responsible enough to help me gain
knowledge, guided me to success with all their unconditional effort into shaping and
leading the way, I would say thank you. I would like to express my deepest gratitude
to my family especially my father Ato. Tesfay Belay, my mother Mrs. Lemlem Girmay,
my brothers Kaleb and Daniel Tesfay, my grandmother Mrs. Yeshu Weldemariam and
Mrs. Buzunesh Gebre for believing in me throughout my project and my life. you raised
me to be amazing and pursue my architectural studies with full support both financially
and morally. Thank you. Lastly, almighty God needs to be thanked.
Name Feven Tesfay Belay
Date
February 15, 2016

Preface iii
Preface
This thesis describes the result of the degree study initiated in February 2010 and
finished in march 2016. The study was done on the emotions and entertainment. It has
been done for 4 months and a half for a reward of degree certificate.
There were moments of difficulty and struggle and thanks to almighty good everything
passed and final is almost here.
PhD Dominica Batista has been my supervisor at Mekelle university. I wish to thank
PhD Dominica for helpful discussions and teaching me how to work on researching and
compiling the project. The staffs of Mekelle university whom I owe many thanks for
teaching me how to do architecture.
The work of this thesis overlaps with very different disciplines. Therefore, I have relied
on the expertise and help from several excellent researchers. Thanks to all those who
participated in the photo illustrated interview and those who helped me investigate their
place with warm welcome.
Finally, a warm and big thanks to my family for their continues moral and financial
support throughout the research.
February 15, 2016

iv EMOIVE AND ENTERTAINING PLACE IN MEKELLE CITY
Keywords
Architecture
Psychology
Entertainment
Emotions
February 15, 2016

Table of contents v
Table of contents
Summary ................................................................................................................................................................. i
Acknowledgement .................................................................................................................................................. ii
Preface ................................................................................................................................................................... iii
Keywords ............................................................................................................................................................... iv
Table of contents .................................................................................................................................................... v
List of Maps, Charts, Graphs & Tables ............................................................................................................. vii
List of figures ...................................................................................................................................................... viii
1 Introduction ................................................................................................................................................... 1
1.1 Background (problem statement) ........................................................................................................... 1
1.2 Motivation .............................................................................................................................................. 2
1.3 Objective ................................................................................................................................................ 3
1.3.1 General objective ............................................................................................................................... 3
1.3.2 Sub-objectives.................................................................................................................................... 3
1.4 Rationale and Justification ..................................................................................................................... 3
1.5 Research questions ................................................................................................................................. 3
1.6 Scope and Parameters ............................................................................................................................ 4
1.7 Methodology .......................................................................................................................................... 4
1.8 Organization of the thesis project ........................................................................................................... 5
2 Multi-disciplinary field of architecture and psychology in relation to entertainment ............................ 6
2.1 Psychology and emotion ........................................................................................................................ 6
2.1.1 Definition ........................................................................................................................................... 6
2.1.2 History ............................................................................................................................................... 7
2.1.3 Types of psychology .......................................................................................................................... 7
2.2 Entertainment ......................................................................................................................................... 9
2.2.1 Definition ........................................................................................................................................... 9
2.2.2 History ............................................................................................................................................. 11
2.2.3 Forms of world entertainment .......................................................................................................... 18
2.2.4 Entertainment and technology ......................................................................................................... 21
2.2.5 Entertainment in Mekelle and Ethiopia ........................................................................................... 22
2.3 Approaches of emotions and entertainment ......................................................................................... 23
2.3.1 A psychological approach ................................................................................................................ 23
2.3.2 An organizational and management approach ................................................................................. 25
2.3.3 User approach .................................................................................................................................. 26
2.3.4 An architectural approach ................................................................................................................ 27
2.3.5 Setting tone to the design ................................................................................................................. 37
2.4 Different theories of different times ..................................................................................................... 45
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vi EMOIVE AND ENTERTAINING PLACE IN MEKELLE CITY
2.5 Building design influence on the environment psychology and vice versa .......................................... 49
2.6 Design constraints and important factors ............................................................................................. 49
2.6.1 Economy .......................................................................................................................................... 49
2.6.2 Industry ............................................................................................................................................ 50
2.6.3 Safety ............................................................................................................................................... 50
3 Contextual Research ................................................................................................................................... 50
3.1 factual data presentation (contextual information) ............................................................................... 50
3.2 data analysis ......................................................................................................................................... 53
4 results ............................................................................................................................................................ 53
4.1 CONCLUSIONS AND RECOMMENDATIONS ............................................................................... 53
4.1.1 Summary of Research Findings ....................................................................................................... 53
4.1.2 Site Selection Criteria; Site Selection and Analysis ........................................................................ 54
5 Design Proposal ............................................................................................................................................ 59
5.1.1 PLANS............................................................................................................................................. 59
6 REFERENCES .............................................................................................................................................. 63
7 ANNEXURES............................................................................................................................................... 64
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List of Maps, Charts, Graphs & Tables vii
List of Maps, Charts, Graphs & Tables

Table 1 Ancient Egypt and Assyria and babylonia ................................................................................................ 13
Table 2 Ancient Isreal and Greece ........................................................................................................................ 15
Table 3 Ancient Rome ............................................................................................................................................ 15
Table 4 Dark age, the renaissance and the colonial period .................................................................................. 16
Table 5 19th Century, The Recreational ................................................................................................................. 17
Table 6 Age Group and number of people interviewed. ........................................................................................ 50
Table 7 Data analysis and classification ............................................................................................................... 51
February 15, 2016

viii EMOIVE AND ENTERTAINING PLACE IN MEKELLE CITY
List of figures
Figure 1 Mekelle city map, 2011, Photo Google map ............................................................................................. 0
Figure 2 Romant Square, Mekelle, Ethiopia, 2016, photo Feven Tesfay ................................................................ 2
Figure 3 Brain maze, brain maze animation, 2014, stock video, Getty images ...................................................... 5
Figure 4 Psych 12, www.sharepoint.tcrsb.ca ......................................................................................................... 8
Figure 5 Barbican Center, Theater, Silk Street, London, UK, 1984 ........................................................................ 9
Figure 6 Disney California adventure park, U.S.A, 2001 ..................................................................................... 10
Figure 7 Banquet Scene, wall drawing, Tomb Nakht,, Egypt, XVIII Dynasty ...................................................... 12
Figure 8 Ancient Mesopotamian Boxers, sculpted stone, www.ejams.com ........................................................... 13
Figure 9 Colosseum amphitheatre , region IV templum pacis (temple of peace) Rome, Italy (70-80 AD)............ 14
Figure 10 The Greek Theater of Taormina, Island of Sicily, Second Century B.C ............................................... 14
Figure 11 Beit She’an, Itamar Grinberg/ Israel Tourism Ministry ....................................................................... 14
Figure 12 Sofonisba Anguissola The Chess Game (1555) An intellectual game................................................... 15
Figure 13 Hogarth’s The Cockpit, 1759 ................................................................................................................ 16
Figure 14 The Empire Theater, Leicester Square, London opened 1884 (photographed 1905) ........................... 17
Figure 15 The O₂ entertainment precinct (2000), London ................................................................................... 18
Figure 16 Maracanã, Rio de Janeiro, at inauguration (1950) the world's largest stadium by capacity ............... 18
Figure 17 Masenqo-girl instruments, Addis Ababa, Ethiopia (2015).photo wordpress.com ................................ 19
Figure 18 Ashenda traditional festival,, Mekelle Ethiopia,(2011) photo Segenet librrary ................................... 20
Figure 19 Ethiopian wrestlers compete as part of the Ganna, celebrated on the Epiphany. Addis Ababa Ethiopia
(2014) .................................................................................................................................................................... 20
Figure 20 Sony Virtual Reality Project Morpheus, Future of Entertainment: Hollywood Considers Virtual
Reality(June 2, 2014), Photo Meghan Coyle, ........................................................................................................ 21
Figure 21 Gebeta traditional board game of Ethiopia Mancala (2010) photo W.P Armstrong ........................... 22
Figure 22 Yegena-Chewata Photo credit Ethiosports.com ................................................................................... 22
Figure 23Biesbosch Museum Island, interior view, by studio Marco Vermulen, Werkedam, Netherlands(2016)
photo Ronald Tilleman .......................................................................................................................................... 23
Figure 24 Goofy’s Paint ‘n’ Play House (6.5/10), Tokyo Disneyland, Tokyo, Japan(1983) ................................. 26
Figure 25 Festspielhaus Bayreuth – façade, Germany(19th century) .................................................................... 28
Figure 26 Festspielhaus Bayreuth –interior, façade, Germany(19th century) ...................................................... 28
Figure 27 Guggenheim Museum Bilbao, designed by Frank O. Gehry, Bizkaia, Spain(1997) ............................. 29
Figure 28 Wright’s prairie house, Frank Lloyd Wright, Chicago, America (1885) .............................................. 31
Figure 29 Dejen amusement park,, Mekelle, Ethiopia photo by Feven Tesfay ...................................................... 31
Figure 30 Romanat Square, Mekelle, Ethiopia photo by Feven Tesfay ................................................................. 32
Figure 31 Lucy park, Mekelle, Ethiopia photo by Feven Tesfay ........................................................................... 32
Figure 32 Tigray regional stadium, Mekelle, Ethiopia photo by Feven Tesfay..................................................... 33
Figure 33 Mohe Ambessa statue, Ethiopian National Theatre, Addis Ababa, Ethiopia, photo Feven Tesfay ....... 33
Figure 34 Ethiopian National Theatre, Addis Ababa, Ethiopia, photo Feven Tesfay ........................................... 34
Figure 35 interior view of the Ethiopian national theatre, Photo Feven Tesfay ................................................... 34
Figure 36 Grand corridor of the Ethiopian national theatre, Photo Feven Tesfay ............................................... 35
Figure 37 Parade routes and theatrical venues aren't the only places where Disneyland Resort guests encounter
live entertainment. www. Mouseinfo.com .............................................................................................................. 35
Figure 38 Sleeping Beauty Castle in Disneyland, Anaheim .................................................................................. 36
Figure 39 Emotional and psychological meaning of colors, Photo Sarah Fournier ............................................. 38
Figure 40 optical illusion of vortex floor carpet, video game store, Paris(2011),Photo James Dean .................. 39
Figure 41 Falling water, Architect: Frank Lloyd Wright, Western Pennsylvania, United States(1964) ............... 40
Figure 42 Gary Curnick’s Stairs.(2011) photo Louise Bjroling ........................................................................... 42
Figure 43 Chitwa Chitwa Private Game Lodge, Gowrie Main, Sabi Sands Game Reserve, South Africa ........... 43
Figure 44 Salk institute, La jolla,CA (1985), Photo courtesy Salk institute .......................................................... 44
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List of figures ix
Figure 45 University Library By Rh+ Architecture, Guyanese University Campus Demerara-Mahaica, Guyana,
(2014) Marco Rinaldi ............................................................................................................................................ 44
Figure 46 The wheel of emotions, by SonicShell (2015)........................................................................................ 50
Figure 47 Existing and Proposed Entertainment places in Mekelle, Mekelle Cadaster Map ............................... 56
February 15, 2016

0 EMOIVE AND ENTERTAINING PLACE IN MEKELLE CITY
Figure 1 Mekelle city map, 2011, Photo Google map
February 15, 2016

Introduction 1
1 Introduction
1.1 Background (problem statement)

Mekelle is one of the major cities of Ethiopia and the major city of Northern Tigray. It
has educational place with historical background. Mekelle accepts lots of people from
different countries every year. Lots of people go in and out of Mekelle in a day because
Mekelle is one of the industrial cities of Ethiopia.
Today Ethiopia is growing fast and construction is everywhere. Because it is a

construction era for Ethiopia, buildings from residences to big stadiums are being built.
Mekelle is no exception for the large or scale construction and these buildings are
functional and repetitive. Building designs can affect our daily lives since we spend 90
% of our lives in them. The attempt to establish a relationship between the
intangible human psychology and sociology with physical design has been
decreasing lately. Though buildings are being constructed none of them consider
entertainment hub. Entertainment hub is place where a form of activity takes place to
capture the interest and attention of an audience to give pleasure and delight. It is place
where emotions like excitement and amusement occurs and people go there to relax,
get educated and informed.
The lack of entertainment place is one of the major problems in Mekelle. Place to
enjoy and experience another environment is difficult in case of Mekelle. There hasn’t
been development on the entertainment sector. Buildings designed to be auditorium is
serving as a cinema. People are being entertained on the streets. There is no cinema,
theatre, concert halls or game zones properly designed. The existing ones are designed
for other functions therefore making them unfit for the service they give today. There
have been bad experiences when it comes to entertainment.
The negative and the positive feelings that people endure during our daily lives are the
major driving forces of our existence. Entertainments are the reflection of the daily
conditions people face. Without emotions, entertainment is nothing but another hectic
life event. Entertainment is emotions. In entertainment places emotions play vital role.
This is influenced mainly by the psychology of the people. The entertainment
experience is an episode of emotions in response to an ongoing guided imagination.
Different emotional gestures can be felt during an entertainment. Excitement, thriller,
pleasure, delight etc… are experienced in entertainments and entertainment places.
Emotions are the felt tendencies or reactions toward anything like people, object, ideas,
events etc. Emotions enrich virtually all our waking moments, with either a
pleasant or an unpleasant quality. Studies have shown that a person’s general
experience of well-being is strongly influenced by the person’s day-
February 15, 2016

to-day felt emotions. Given the fact, designers may find it rewarding to design for
emotions that appeal to or stimulate the intended users. In architecture history many
designs involving the psychology of human beings were designed.
Figure 2 Romant Square, Mekelle, Ethiopia, 2016, photo Feven Tesfay
Architecture contributes to a solution of two problems for a theory of

entertainment: the paradox of negative experiences and the perceived reality of
entertainment content. It also helps in the development of the theories and
experiences of the architectural psychology. The lack of entertainment with emotional
connections, the architecture of entertainment, the psychological influences of
entertainment on the users and environment; These and other related subjects are
mentioned, reviewed and analyzed to identify the gap and proposed a possible solution.
Different ideas and researches on this subject were also evaluated to conclude the
project with recommendations and exemplary design project.
1.2 Motivation
Here in Mekelle going out and finding a pleasant space to entertain is difficult. There
was a need of an entertainment center. In addition to the lack of entertainment, most
buildings are not designed to be emotionally connected to the users. Entering and using
buildings are our daily life routine. Through the process some of us do not experience
the place. Buildings today don’t leave memories. They have no language. As an
architect, the building we design should speak our thoughts and help the users
experience different emotions It is interesting project with high motive to expand the
research on architecture and its psychological effects on entertainment places by
integrating it with different emotions.
February 15, 2016

Introduction 3
1.3 Objective
1.3.1 General objective
The main objective of this research is to study the connection between entertainment
architecture and human emotional response through entertainment center design.
1.3.2 Sub-objectives
By reviewing the past history and the current situation, by integrating the architectural
needs of the users with the entertainment culture, by providing solutions to the gaps
between the user experience, emotional response, psychological effects of the buildings
and lack of entertainment, by giving language to the architectural projects and through
understanding the emotional meanings of elements of art, by observation and analysis
of different books articles and ideas, by cramming the preferences and emotions of the
people of Mekelle and by analyzing them an emotive entertainment center is designed
in different areas of Mekelle. It is to emphasize our identity, to understand the
architecture, to create good mental health and increase productivity by solving the
gap in architectural psychology and lack of entertainment hub. Therefor the sub
objective of this study is to provide knowledge and fill the gaps of the problems above.
1.4 Rationale and Justification

The purpose of this research is to solve the problems that exist today (problems
mentioned above) by studying the different design languages assimilated to emotion
and entertainment. The project lies on suggesting possible recommendations on
existing entertainment areas and illustrating the findings on networking emotive
entertainment center design. It is to provide better understanding of the
multidisciplinary fields of architecture and psychology for further studies through
emotive entertainment center design. The major significance of the study is to show
the link between the physical building and the psychology of the users and expand the
knowledge of the architecture language. It would be the foundation to further study on
psychology and architecture.
1.5 Research questions

How do the human behavior be integrated with entertainment place design and What
benefits and burdens will entertainment bring to the people?
How do buildings create response to the users and what are the standards for doing this?
What can the past entertainment history, existing entertainments and future technology
do for the designs of entertainment places?
Most importantly how do the need for incorporating building with emotions be a
solution to today’s dull buildings?
February 15, 2016

What is the outcome of this research and How will it affect our daily lives and
behaviors?
1.6 Scope and Parameters

This research is clearly done on the topic of emotive entertainment center design with
emotional response by studying the different approaches, status and areas. It covers
some of the entertaining places of Mekelle. It studies the different elements of
architecture and their emotional meanings and finally designs entertainment
place in Mekelle. This study revolves around entertainment, emotion and architecture.
It studies the different emotional responses of users have on buildings, studies
literatures and case studies, studies the different methods for integrating emotions to
building designs and finally analyzes it and changes it to design brief. In conclusion, a
design project is proposed in some sites selected by site selection criteria’s. Some sites
are recommended for some functions but only one site is designed and the document
includes architectural drawings and some details. The research design is for Mekelle
but the research findings can be applied in different areas of Ethiopia too.
1.7 Methodology
This research defines and analyzes the terms like entertainment, psychology, and
architecture (building design) and explores the connection between them by evaluation
of literature review and case studies. The method used to understand the different
perspectives of users and their emotional responses to architecture is through interview,
discussion and photo-illustrated questions. This method is selected for the specific
project in order to study the group emotional response to an architectural design and
since the entertainment center is a center for a big crowd it is important to consider the
emotions of groups of people all together. There for, people from different age and
different place in groups are selected and given diverse groups of pictures carefully
chosen to represent altered emotions.
In addition to that Different articles and books in connection to the topic were being
used in providing relevant and logical examples. Looking in to history of these terms
and understanding the links and gaps in relation to the context is also another method
used.
The unique culture of entertainment in Ethiopia especially Mekelle and the emotional
response to these places is studied by observation and by studying the long history
behind it. The perspectives of the people of Mekelle in entertainment places and the
plans of the government for future developments of entertainment areas are collected
by the interview method. By providing a site selection criteria and by providing some
February 15, 2016

Introduction 5
analysis like urban and site analysis an architectural project is proposed to give
solutions to the gaps.
1.8 Organization of the thesis project

The thesis project is organized in chapters starting from the definitions of different
terms, their historical backgrounds, there divisions to the different approaches to the
problem, then by analyzing the contextual data, a design is proposed.
Figure 3 Brain maze, brain maze animation, 2014, stock video, Getty images
February 15, 2016

2 Multi-disciplinary field of architecture and psychology in

relation to entertainment
2.1 Psychology and emotion
2.1.1 Definition
Psychology originated from Latin Psychologia in 1653 meaning the science or study
of the mind and behavior. It is the study of the way a person or group thinks. It is the
study of mind and behavior in relation to particular field of knowledge and activity. It
is also related to the response a person or group shows to an activity or object.
One of these responses are emotions. Diener, E. and Lucas, R.E. (2000) explained
emotions in their book handbook of emotions like “Emotions are the felt tendencies
or reactions toward anything like people, object, ideas, events etc. Emotions enrich
virtually all our waking moments, with either a pleasant or an unpleasant quality.
Studies have shown that a person’s general experience of well-being is strongly
influenced by the person’s day-to-day felt emotions.”1
In the book Design for Emotion (2009) argues “Although we tend to believe that we
experience emotions (only) in response to significant events in our lives, in reality we
are constantly in some emotional state. In many, if not most – of these daily emotions,
there is some involvement of a designed product / service / environment.” 2
Architectural psychology is a multi-disciplinary and multi professional field

involved in the study of human behavior and the effect of the built environment
on the users. It includes the systematic examination of the relationship between the
environment and the human behavior and their application in the design process.
Yanni, Carla (2007) in the book The Architecture of Madness: Insane Asylums in the
United States says architectural designs have been affecting targeted behaviors for
thousands of years. “For better or worse, human beings are products of their
environment. This generally accepted characteristic of human behavior has been
exploited in the past with both positive and negative intentions. For example,
architectural design has been employed for thousands of years to affect targeted
behavioral characteristics in its occupants. Religious organizations have seemingly
used architecture for thousands of years as a means of inspiring respect, and even fear
in order to affect subordinate behavior in its members. Psychiatric hospitals, more
specifically those based on the system of design promoted by Thomas Kirkbride, were
intent on promoting both mental and physical health in its patients” 3.
1
Diener, E. and Lucas, R.E. (2000). ‘Subjective emotional well-being.’ In M. Lewis and J.M. Haviland-Jones
(Eds.), Handbook of Emotions; second edition (325-337). New York: The Guilford Press.
2
3TU winter school - January 29, 2009 – Design for Emotion
3
Yanni, Carla, The Architecture of Madness: Insane Asylums in the United States (Minneapolis: University
of Minnesota Press, 2007) 55-59.
February 15, 2016

Multi-disciplinary field of architecture and psychology in relation to entertainment 7
2.1.2 History
A number of social and behavioral scientists began to direct attention to the built
environment in the 1960s. Indeed, a new social science specialization alternatively
referred to as environmental psychology, environmental sociology, or human
ecology began to emerge as stated by Conway, 1973. “Many of these social scientists
became affiliated with the Environmental Design Research Association (EDRA), an
organization in which architects, interior designers, and other design professionals
began to interact with social scientists in the common concern that many buildings and
other designed environments did not work particularly well for the people they were
meant to serve. These interdisciplinary groups often chose to utilize research methods
developed by social and behavioral scientists to study human attitudes regarding and
behavior in the physical environment. These methods included literature search and
review, systematic observation, controlled interviewing, questionnaires and surveys,
population sampling, and statistical analysis.” It is stated in the book Handbook of
Environmental Psychology by Robert B. Bechtel and Arza Churchman (2002)
“Seminal studies of personal space and territoriality by Edward Hall (1966) and
Robert Sommer (1969) were introduced to the architectural profession and
influenced many architects, who gave consideration to their findings in both
programming and design. Other behavioral scientists such as Altman (1975), Lawton,
Windley, and Byerts (1982), Bechtel, Marans, and Michelson (1987), and Marcus
(1975) followed with more directed studies on privacy, special needs of the elderly,
survey research, and special building types. A number of architects including Horowitz
(1966), Sanoff (1977, 1992), Moore (Moore & Golledge, 1976), Windley (Lawton et
al., 1982), Spreckelmeyer (Marans & Spreckelmeyer, 1982), and the author
(Hershberger, 1969) adopted some of the same methods to study problems of interest
to them. Still other architects, such as Davis (1969), Farbstein (1976), Preiser (1978,
1985, 1993), Moleski (1974), Brill (Brill, Margulis, Konar, & BOSTI, 1984), and
Hershberger (1985) began to utilize behavioral-based research in actual programming
practice.”4
2.1.3 Types of psychology

Social psychology, environmental psychology, and cognitive psychology, all of
which were essential to understanding the unique relationship one has with their
built environment. This architecture contributes to a solution of the problems faced in
integrating the Social psychology, environmental psychology, and cognitive
psychology to the entertainment design.
Cognitive science can be roughly summed up as the scientific interdisciplinary study

of the mind. It is concerned with advances in the study of attention, memory, language
4
Robert B. Bechtel and Arza Churchman (2002), Handbook of Environmental Psychology, John Wiley &
Sons, Inc., New York.
February 15, 2016

processing, perception, problem solving, and thinking.
Figure 4 Psych 12, www.sharepoint.tcrsb.ca
Michael A. Hogg & Graham M. Vaughan et al (2010) defined Social psychology as

“the part of psychology that studies human interaction: its manifestations, its causes,
its consequences, and the psychological processes involved.” A widely used and more
technical definition given by Gordon Allport is that social psychology is ‘the scientific
investigation of how the thoughts, feelings and behaviors of individuals are
influenced by the actual, imagined or implied presence of others’.5
Social psychologists are primarily, interested in understanding the many factors and
conditions that shape the social behavior and thought of individuals. Mainly, how
individuals form ideas relating to the actions, feelings, beliefs, memories and
inferences concerning other persons.
5
Michael A. Hogg & Graham M. Vaughan et al (2010), Essentials of social psychology, Pearson Education
Limited, England
February 15, 2016

Environmental psychology is the study of transactions between individuals and

their physical settings by Gifford explanation. David E. Alexander & Rhodes W.
Fairbridge in the book Encyclopedia of Environmental Science wrote “Environmental
psychology examines the interrelationship between environments and human behavior.
The field defines the term ‘environment’ very broadly to include all that is natural on
the planet as well as social settings, built environments, learning environments and
informational environments.”6
2.2 Entertainment
2.2.1 Definition
Entertainment is a form of activity that holds the attention and interest of an
audience, or gives pleasure and delight. It can be an idea or a task, but is more likely
to be one of the activities or events that have developed over thousands of years
specifically for the purpose of keeping an audience's attention. Although people's
attention is held by different things, because individuals have different preferences in
Figure 5 Barbican Center, Theater, Silk Street, London, UK, 1984
entertainment, most forms are recognizable and familiar. Storytelling, music, drama,
dance, and different kinds of performance exist in all cultures, were supported in royal
courts, developed into sophisticated forms and over time became available to all
citizens. The process has been accelerated in modern times by an entertainment industry
which records and sells entertainment products. Entertainment evolves and
6
David E. Alexander & Rhodes W. Fairbridge, Encyclopedia of Environmental Science, Kluwer Academic
Publishers, London
February 15, 2016

can be adapted to suit any scale, ranging from an individual who chooses a private
entertainment from a now enormous array of pre-recorded products; to a banquet
adapted for two; to any size or type of party, with appropriate music and dance; to
performances intended for thousands; and even for a global audience. The experience
of being entertained has come to be strongly associated with amusement, so that one
common understanding of the idea is fun and laughter, although many entertainments
have a serious purpose.
Entertainment can be public or private, involving formal, scripted performance, as in

the case of theatre or concerts; or unscripted and spontaneous, as in the case of
children's games. Most forms of entertainment have persisted over many centuries,
evolving due to changes in culture, technology, and fashion. Films and video games,
for example, although they use newer media, continue to tell stories, present drama,
and play music. Festivals devoted to music, film, or dance allow audiences to be
entertained over a number of consecutive days.
The functional architecture of the entertainment experience just presented

integrates available theories and research to enhance our understanding of the
emotion-entertainment relationship. It was proposed in Entertainment Is Emotion:
The Functional Architecture of the Entertainment Experience by Eduard Sioe-Hao
Tan(2008) that “we view the entertainment experience not just as containing emotion,
but as thoroughly emotional in nature, with two sets of emotions acting as the
cornerstones connecting distal with proximal causes of entertainment activity, linking
a remote need for development of adaptive functions, on the one hand, and an
immediate attraction, on the other. As in all emotion, distal causes of affect, that is
concerns, do not have to be conscious, but once emotional programs are running, we
Figure 6 Disney California adventure park, U.S.A, 2001
are subject to their control of our perceptions, activities, motivations, and feelings.
Once we are in an entertainment episode and interest is caught, we are unaware of any
February 15, 2016

remote pedagogical functions of our engagement, but feel an urge to continue and
intensify our active engagement. Once our empathy is activated, we are not aware of a
need to care for other people or of any other general concern, but it is hard for us to
withdraw from the emotions, almost regardless of how painful they may be.”
The view of entertainment experiences as thoroughly emotional answers some

widely shared intuitions, including that entertainment is absorbing, that it
typically brings along strong emotions, including unpleasant ones. A final intuition
has not yet been addressed. A lay person’s understanding of what it means to entertain
somebody involves being amusing or giving pleasure, activities associated with being
a good host to a guest. The intuition is that entertainment is communication, taking two
roles. The entertainer acts intentionally to bring about interesting emotional
experiences in the entertainee. Entertainment may not be just play, but a playful form
in which the player expects that a service is being rendered to her and the service can
be good or bad.
Entertainment Is Emotion: The Functional Architecture of the Entertainment

Experience by Eduard Sioe-Hao Tan(2008) says that “The entertainment is one of the
major places where people first hand witness the different emotions. Current standard
accounts of entertainment have regarded emotions as essential for the entertainment
experience, but it has not been understood why emotions are so important for it. Recent
views of entertainment as an adaptively significant activity propose that the distal cause
of entertainment activity is an unconscious need for training useful capabilities, whereas
the proximal cause is enjoyment of the activity for its own sake. This theoretical paper
argues emotions provide the link between distal and proximal causes of engaging in
entertainment. An architecture of the entertainment experience based on Steen and
Owens’ (2001) account of pretense play is proposed. The entertainment experience is
an episode of emotions in response to an ongoing guided imagination. Two key factors
are posited to shape the entertainment experience. First, interest is asserted as the ‘‘go-
mechanism’’ of the entertainment experience. Second, the emotional reactions to the
content of imagination are argued to lend coloring to the experience as well as to help
train people’s adaptive capacities.”7
2.2.2 History
To provide a meaningful background for to study of recreation and leisure in modern
society, it is helpful to have a clear understanding of its role in the past.
Many entertainments, including storytelling but especially music and drama, remain
familiar but have developed into a wide variety of form to suit a very wide range of
personal preferences and cultural expression. Many types are blended or supported by
7
Eduard Sioe-Hao Tan, Entertainment Is Emotion: The Functional Architecture of the Entertainment
Experience, Media Psychology, 11:28–51, 2008, Copyright © Taylor & Francis Group, LLC
Kloveniersburgwal 48, 1012 CX Amsterdam.
February 15, 2016

other forms. For example, drama, stories and banqueting (or dining) are commonly
enhanced by music; sport and games are incorporated into other activities to increase
appeal. Some may have evolved from serious or necessary activities (such as running
and jumping) into competition and then become entertainment.
Relatively minor changes to the form and venue of an entertainment continue to come
and go as they are affected by the period, fashion, culture, technology, and economics.
For example, a story told in dramatic form can be presented in an open-air theatre, a
music hall, a movie theatre, a multiplex, or as technological possibilities advanced, via
a personal electronic device such as a tablet computer. Entertainment is provided for
mass audiences in purpose-built structures such as a theatre, auditorium, or stadium.
One of the most famous venues in the Western world, the Colosseum, "dedicated AD
80 with a hundred days of games, held fifty thousand spectators," and in it audiences
"enjoyed "blood sport with the trappings of stage shows". Spectacles, competitions,
races, and sports were once presented in this purpose-built arena as public
entertainment. New stadia continue to be built to suit the ever more sophisticated
requirements of global audiences.
As prehistoric societies advanced they developed specialization of functions. Humans

learned to domesticate plants and animals, which permitted them to shift from a
nomadic existence based on hunting and food gathering to a largely stationary way of
life based on grazing animals painting corps. Ultimately, ruling classes developed,
along with soldiers, craftsmen, peasants and slaves. As villages and irrigation systems)
and harvested by lower-class workers, upper-class societies gained power, wealth and
leisure. Thus, in the aristocracy of the first civilizations that developed in the middle
Figure 7 Banquet Scene, wall drawing, Tomb Nakht,, Egypt, XVIII Dynasty
February 15, 2016

east during the five millennia before Christian era, a leisure class is found in history for
the first time.8
Figure 8 Ancient Mesopotamian Boxers, sculpted stone, www.ejams.com
The following table shows the history of entertainment in general.
Table 1 Ancient Egypt and Assyria and babylonia
PERIOD COUNTRY INTEREST ACTIVITIES

(TIME)
5000 BC Ancient Egypt Art Paintings
Statuary
Education and Wrestling

recreation Gymnastics exercise
Lifting and swinging weights and ball games
Bullfighting
Religious worships Music, drama, banquet, and dance
2900-330 BC Ancient Assyria recreation Boxing, wrestling, archery, and a variety of table
and Babylonia games
leisure Watching dancing, listening to music, and giving
banquets
Hunting
8
Early history of recreation and leisure, chapter 3, Jones and Bartiett publishers
February 15, 2016

Figure 11 Beit She’an, Itamar Grinberg/ Israel Tourism Ministry
Figure 10 The Greek Theater of Taormina, Island of Sicily, Second Century B.C
Figure 9 Colosseum amphitheatre , region IV templum pacis (temple of peace) Rome, Italy (70-80 AD)
February 15, 2016

Table 2 Ancient Isreal and Greece

(TIME)
- Ancient Israel Ritual purpose Music and dancing
Recreational and Hunting, Fishing, wrestling and the use of such
defense purpose weapons as sword and javelin
500-400 BC Ancient Greece Education and Music, poetry, theater, gymnastics and athletic
religious festivals competition like running and leaping,
wrestling, throwing the javelin and discus,
dancing, boxing, swimming and ball games.
Table 3 Ancient Rome

(TIME)
53 BC -354 AD Ancient Rome Sport and gaming Running and jumping,
sword and spear play,
wrestling, swimming,
and horseback riding
Leisure and business Open-air theater,
amphitheaters, forums
for public assemblies,
stadiums and sometimes
parks and gardens
Amusement and Acrobats, music, dance
entertainment etc..
Figure 12 Sofonisba Anguissola The Chess Game (1555) An intellectual game
February 15, 2016

Table 4 Dark age, the renaissance and the colonial period

(TIME)
400-1000 AD (FIRST Pastimes in the middle Games and Chess, checkers, backgammon and
HALF OF MIDDLE ages (Europe) gambling dice.
AGE AS DARKAGE).
1400-1500 AD (HIGH
MIDDLE AGE)
recreation Music and dance, sport, jousting,

practical joking, throwing weights,
cockfighting, bull baiting, ball
games, wrestling, hunting, drinking
and crude brawling and other lively
games
1350 AD (ITALY) The Renaissance Secular goals Complex Painting, music,
1450 AD (medieval world and And education sculptures, dance, theater, literature
(FRANCE) modern age) presented in courts of Italy and
1500AD (ENGLAND) France.
TH
17 CENTURY (the colonial period) Survival and Hunting, parks and open space.
(AMERICA) religion (amusement was banned)
Figure 13 Hogarth’s The Cockpit, 1759
February 15, 2016

Table 5 19th Century, The Recreational

(TIME)
19TH CENTURY Industrial revolution( Sanctified Theaters, circus, drinking,
Europe and united states) amusement and sports (wrestling matches,
recreation foot races, shooting events,
and horse races, tennis,
archery, bowing, boxing,
TH TH
19 CENTURY-20 skating, bicycling and team
CENTURY (THE games such as baseball,
RECREATIONAL basketball, football, athletics
MOVEMENT) ), music vaudeville, dance,
photography, gymnastics,
hiking and mountain
climbing, fishing and
hunting, camping, rowing
and sailing, reading and
playgrounds
Figure 14 The Empire Theater, Leicester Square, London opened 1884 (photographed 1905)
February 15, 2016

Figure 16 Maracanã, Rio de Janeiro, at inauguration (1950) the world's largest stadium by capacity
Figure 15 The O₂ entertainment precinct (2000), London
2.2.3 Forms of world entertainment

There are many types of entertainment for particular tastes, for example we have
cinema, theater, sports, games, social dance, concert, comedy shows, animations,
impressionists, clowns and the list goes on and on.
These form of entertainment can then be divided into groups according to the age and
interest of the people being entertained. For instance, we have child, adult, live action,
public and corporate entertainment.
February 15, 2016

Child Entertainment- Kids need to be interested and some periods the performer or
the enjoyment organization needs to get a balance between psychological and actions.
Clowns, puppets, pantomimes and toons usually entice children, though mature might
discover it pleasant too.
Figure 17 Masenqo-girl instruments, Addis Ababa, Ethiopia (2015).photo wordpress.com
Adult Entertainment many periods is relevant to the sex market, but this way of
enjoyment cannot be relevant only with the sex market and its divisions. Adult
Entertainment includes things like songs events, stay activities, safari and a hand full
of other actions that children might not discover so attractive.
Live Entertainment- This way of enjoyment is enhanced to all age groups as there are
a variety of actions that can branded as stay enjoyment. For example, songs events, stay
TV reveals, stay activities, cinemas and any other action that you could think of that is
targeted to entertain people.
February 15, 2016

Figure 18 Ashenda traditional festival,, Mekelle Ethiopia,(2011) photo Segenet librrary
Public Entertainment
Nowadays probably one of the types of enjoyment that have started the most, thanks to
the recession. When you walk around any significant city around European countries
you will notice a variety of community performers operating for any sum of cash the
community chooses to give them. There are community performers of all types from
mimes to Peruvian Flute groups all dealing with the doubt of how much cash they will
make, that is why they are generally more common in significant places where there
are more visitors.
Figure 19 Ethiopian wrestlers compete as part of the Ganna, celebrated on the Epiphany. Addis Ababa
Ethiopia (2014)
February 15, 2016

Corporate Entertainment- Aimed for corporate events, private parties, award

ceremonies, product launches and it is better organized by a professional Network
Marketing as most of time these events involve hundreds maybe thousands of people
and no one better than the professionals to take care of these form of entertainment.
2.2.4 Entertainment and technology

Currently due to high advancement in technology entertainment have been changing.
Today everything is on our finger tips and a click away. Some considered very
impossible are now becoming easy to tackle with and some are revolving to be helpful
to humans. Development in entertainment have become very significant lately. This
development of entertainment technology was assisted by improvements in data storage
devices along with increasing miniaturization. Computerization and the development
of barcodes also made ticketing easier, faster and global. All the traditional forms of
entertainment became available personally. People could not only select an
entertainment product such as a piece of music, film or game, they could choose the
time and place to use it. It is expected that halfway through the second decade of the
21st century, television will be completely replaced by online entertainment. The so-
called "digital revolution" has resulted in an increasingly transnational marketplace that
has caused difficulties for governments, business, industries and individuals as they all
try to keep up. Media convergence is said to be more than technological: the
convergence is cultural as well. While technology increases demand for entertainment
products and offers increased speed of delivery, the forms that make up the content are
in themselves, relatively stable. Storytelling, music, theatre, dance and games are
recognizably the same as in earlier centuries.
Figure 20 Sony Virtual Reality Project Morpheus, Future of Entertainment: Hollywood Considers
Virtual Reality(June 2, 2014), Photo Meghan Coyle,
February 15, 2016

2.2.5 Entertainment in Mekelle and Ethiopia

The culture and the recreation in Ethiopia is similar to the rest of the world except for
some. There are games and festivals, theaters, music concerts, wrestling, etc… but there
have been forgotten because there are no records. To list some of them. There is one of
the oldest board games in the world called Gebeta There is yegena chewata (Ethiopia
hockey) in Christmas festivities, dibo is another game, fighting is game played in
northern Ethiopia where two men fight to not to be the one who hits the ground first.
Other than that people enjoy concerts and music. Ashenda is a festival held in Tigray
Figure 21 Gebeta traditional board game of Ethiopia Mancala (2010) photo W.P Armstrong
and it contains dancing and music. Circus used to be one of the famous games in
Ethiopia but lately it has deceased because of ignorance. Coffee houses of Mekelle are
one of the adult entertainments of Tigray. Unsuccessful parks exist in some parts of
Mekelle. Cinema is one of the entertainments that exist in Tigray but since there is no
place designed for the specific purpose, they have been not gaining much audience.
Soccer and other games are played around the youngsters.
Figure 22 Yegena-Chewata Photo credit Ethiosports.com
February 15, 2016

2.3 Approaches of emotions and entertainment

2.3.1 A psychological approach
The interest of how the environment interacts with the individual through physical
stimuli posed by environmental factors engages a certain field of psychology called
environmental psychology. One of many definitions to environmental psychology is:
“Environmental psychology is the study of the interrelationship between behavior and

experience and the built and natural environment.” (Bell, Fisher, Baum, & Greene,
1990, p. 7)
The field is strongly connected to architecture through a common interest in the built
environment and the concept of place; in brief, the former focuses on its perception and
environmental influence and the latter on its design.
Yanni, Carla in the book : Insane Asylums in the United States argues, for better or
worse, human beings are products of their environment. This generally accepted
characteristic of human behavior has been exploited in the past with both positive and
negative intentions. For example, architectural design has been employed for thousands
of years to affect targeted behavioral characteristics in its occupants. Religious
Figure 23Biesbosch Museum Island, interior view, by studio Marco Vermulen, Werkedam,
Netherlands(2016) photo Ronald Tilleman
organizations have seemingly used architecture for thousands of years as a means of

inspiring respect, and even fear in order to affect subordinate behavior in its members.
Psychiatric hospitals, more specifically those based on the system of design
February 15, 2016

promoted by Thomas Kirkbride, were intent on promoting both mental and physical
health in its patients9.
The impetus for studies of environment, culture, and behavior is, at least in part, to
contribute to the knowledge base of the design disciplines involved with the production
of the physical environment. It is commonplace that the design disciplines have an
inherent social dimension: They contribute to sustaining patterns of behavior,
understanding, and social relationships, even though they manipulate physical
resources. Nevertheless, as Hillier and Leaman (1973) argued in the early days of
environment behavior studies, this is not because the conditionally enable individual
behavior.10
Emotion or synonymously affect is a diverse and complex psychic phenomenon

comprising physiological responses by the vegetative nervous system, involuntary
moods and feelings, as well as cognitions on these internal states and the related
external context. For practical empirical purposes, in particular the framework of
Mehrabian and Russell (1974) has turned out to be suitable. As written in Eduard Sioe-
Hao Tan (2008) Entertainment is Emotion: The Functional Architecture of the
Entertainment Experience, Media Psychology, It describes emotions along three basic
underlying dimensions (pleasure/valence, arousal, and dominance) and that widely
imply related concepts such as preference or beauty. Their framework allows an
effective quantification of affective responses using introspective verbal scaling
techniques.
These affective appraisals characterizing the mood altering capacity of a stimulus are
seen as especially important for attitudes and decisions by Russell & Snodgrass, 1987,
and likely provide at least an approximation to further e.g., physiological responses.
Furthermore, several studies summarized by Stamps strongly suggest that, despite
obviously existing individual differences, averaged appraisals indicate meaningful and
stable main trends offering a basis for generalizable predications.
The functional architecture of the entertainment experience just presented integrates

available theories and research to enhance our understanding of the emotion-
entertainment relationship. It was proposed that we view the entertainment experience
not just as containing emotion, but as thoroughly emotional in nature, with two sets of
emotions acting as the cornerstones connecting distal with proximal causes of
entertainment activity, linking a remote need for development of adaptive functions,
on the one hand, and an immediate attraction, on the other. As in all emotion, distal
causes of affect, that is concerns, do not have to be conscious, but once emotional
9
Yanni, Carla, The Architecture of Madness: Insane Asylums in the United States (Minneapolis: University
of Minnesota Press, 2007) 55-59.
10
February 15, 2016

programs are running, we are subject to their control of our perceptions, activities,
motivations, and feelings. Once we are in an entertainment episode and interest is
caught, we are unaware of any remote pedagogical functions of our engagement, but
feel an urge to continue and intensify our active engagement. Once our empathy is
activated, we are not aware of a need to care for other people or of any other general
concern, but it is hard for us to withdraw from the emotions, almost regardless of how
painful they may be.
The view of entertainment experiences as thoroughly emotional answers some widely

shared intuitions, including that entertainment is absorbing, that it typically brings
along strong emotions, including unpleasant ones. A final intuition has not yet been
addressed. A lay person’s understanding of what it means to entertain somebody
involves being amusing or giving pleasure, activities associated with being a good host
to a guest. The intuition is that entertainment is communication, taking two roles. The
entertainer acts intentionally to bring about interesting emotional experiences in the
entertainee. Entertainment may not be just play, but a playful form in which the player
expects that a service is being rendered to her and the service can be good or bad. 11
2.3.2 An organizational and management approach

Even though the architectural design does not by itself determine the behavior and
wellbeing of the employees, it has an impact through its aesthetic, functional and social
implications on the social arena of the organization and group constellations, i.e. on
interaction and cooperation among employees. What unites the eclectic field of
organizational theories that recognize the architecture’s importance for organizations
is their recognition of it as a possible mean to achieve higher productivity or creativity.
Entertainment is a recreational place where relaxation takes place. It is also a business

where big money rotates. It is aa trade and an industry where the world revolves in.
These days it is becoming a place where big paycheck is witnessed.
“The organizational and management interest in architecture is expressed in research

through a wide range of perspectives to its benefits from an organizational and
management point of view. Baldry et al. (1997) relate employees’ well-being,
productivity, and work processes to the physical work environment. Most of the
researchers that investigate the architecture´s impact on organizations are however not
found within the management field but within the design and behavior fields according
to L. Cohen, 2007. What unites the theorists that apply an organizational and
management perspective to architecture independent of their background is their
11
Eduard Sioe-Hao Tan (2008) Entertainment is Emotion: The Functional Architecture of the
Entertainment Experience, Media Psychology, 11:1, 28-51, DOI: 10.1080/15213260701853161
February 15, 2016

acknowledgement of the fact that organizations mainly consist of people, thus the
effectiveness and success of organizations is highly dependent on employees’ efforts.
They view architecture as one factor in increasing employees’ effort. Becker has
expressed it this way: “In the short run, productivity defined in terms of strict output
measures may make sense, but in the long run, the absenteeism and turnover stimulated
by the changes required to obtain high productivity in the short run may impose a
significant cost on the organization’ by Becker, 1981 view.” 12
2.3.3 User approach

Architectural space is not generated on a blank sheet, but constantly in respect to the
present environment and consequently in a high-dimensional decision space. From a
user’s perspective several points of environmental ability, legibility and image ability
are essential to understand and interpret building layouts, e.g., landmarks, routes, paths
and walkways, and to differentiate shapes and forms, configured space and building
topology, and the close relation between inside and outside space. ‘‘The idea or image
of a building is as important as the building itself’’ characterized as the connection
between architectural space and its mental image. 13
Figure 24 Goofy’s Paint ‘n’ Play House (6.5/10), Tokyo Disneyland, Tokyo, Japan(1983)
12
Christina Bodin Danielsson. (2010), The Office—An Explorative Study Architectural Design’s Impact On
Health, Job Satisfaction And Well-Being, Se- 100 44 Stockholm, Sweden
13
Jatish Bag, Reader, Dignity College of architecture, Anjora, Durg Chhattisgarh, (2012), The architectural
spaces and Their psychological impacts, Vishakhapatnam, India www.dignitycollege.com, Email ID –
jatisharchi@gmail.com
February 15, 2016

At the heart of entertainment is enjoyment, a pleasurable emotion that manifests itself

in manifold forms, including paradoxical ones. Vorderer et al.’s (2004) account of the
intuitive emotional appeal of entertainment goes a long way in acknowledging the
importance of a number of emotions. However, more justice could be done to the
intuition that entertainment is emotional. The account lacks a central explanatory role
assigned to emotion at large in entertainment use, and the present paper attempts to
address that omission. It proposes to conceive of the entertainment experience as
essentially emotional in nature. The ‘‘entertainment experience’’ refers to the
immediate phenomenal awareness that users of acknowledged media entertainment
productions typically have. The proposal will be based on insights from evolutionary
psychology in cultural phenomena, such as art and entertainment, on the one hand. On
the other it will draw on recent insights in the psychology of emotion and of the
imagination.14 in addition to that, many users become unpleased by the architectural
qualities of the existing places. The places do not fulfil the standards. “They are dull
and non-communicative; this is better than that” is what the users most of the time
comment about the place. It is known that places with better architectural quality serve
more than those with poor quality.
2.3.4 An architectural approach

One of the desires of designers is to create a positive motivational and trustworthy place
for the users. In order to get positive response, designers should create positive
emotions. Architect aims to construct buildings as complex systems of numerous
architectural dimensions. To develop an adequate and satisfactory compromise is an
essentially spatial task.
2.3.4.1 Architecture for emotion

Entertainment venues are purpose-built structures to accommodate audiences to
entertain. These places can be theatres stadiums etc… there are so many such venues
in the world to list some The Sydney Opera House, for example, is a World Heritage
Site and The O₂ in London is an entertainment precinct that contains an indoor arena
14
Eduard Sioe-Hao Tan (2008) Entertainment is Emotion: The Functional Architecture of the Entertainment
Experience, Media Psychology, 11:1, 28-51, DOI: 10.1080/15213260701853161
February 15, 2016

music club, a cinema and exhibition space. The Bayreuth Festspielhaus in

Germany is a theatre designed and built for performances of one specific musical
Figure 25 Festspielhaus Bayreuth – façade, Germany(19th century)
composition.
In the 21st century, entertainment venues, especially stadia, are "likely to figure among
the leading architectural genres". However, they require "a whole new approach" to
design, because they need to be "sophisticated entertainment centers, multi-experience
Figure 26 Festspielhaus Bayreuth –interior, façade, Germany(19th century)
February 15, 2016

venues, capable of being enjoyed in many diverse ways". Hence, architects now have
to design "with two distinct functions in mind, as sports and entertainment centers
playing host to live audiences, and as sports and entertainment studios serving the
viewing and listening requirements of the remote audience"
2.3.4.2 Architecture as emotion

Architecture is a critical act over reality and, at the same time, it is an act of interpreting
the past. Architecture is not a brand. To switch off the creative process is a fault.
Without the exercise of criticism, without taking a position, without conflicts – which
are above all internal – there is no creation. But criticism is in the process of becoming
extinct. Architecture regresses into entertainment. Thus contemporary architecture
celebrates the power and becomes itself the power. And even if they seem like
opposites, power and entertainment are part of some strategy, one that distracts people
from the feelings of life.
A building is great when its spaces are eloquent inasmuch as they can resist the changes
of their primary purpose. Architecture should be able to convey values transcending
time and the day-to-day. Architecture is more than function, which is just a casual
pretext that gives life to it. Architecture, the city indeed, is like an endless novel, in
which the personal experience of the leading character, seen from his viewpoint,
continually changes the feeling of the work of time. Over and beyond from this human
dimension, architecture is bound to technological obsolescence and premature ageing.15
Architects who push the boundaries of design or construction sometimes create

buildings that are entertaining because they exceed the expectations of the public and
the client and are aesthetically outstanding. Buildings such as Guggenheim Museum
Figure 27 Guggenheim Museum Bilbao, designed by Frank O. Gehry, Bizkaia, Spain(1997)
15
Antonino Cardillo: “Architecture as Entertainment”, in: «Fulcrum», no.77, Architectural Association
Press, London, Nov 18th, 2013, p.1.
February 15, 2016

Bilbao, designed by Frank O. Gehry, are of this type, becoming a tourist attraction as
well as a significant international museum. Other apparently usable buildings are really
follies, deliberately constructed for a decorative purpose and never intended to be
practical.
2.3.4.3 Architectural styles and emotional response

Aesthetic emotions can be elicited by different kind of artifacts: from the small scale
of industrial design objects (e.g., a lamp), to the big scale of architectural designs (e.g.,
a shopping mall). Aesthetic emotional responses are very important for designers since
they can stimulate or provoke people to prefer certain designs, or take certain design
decisions over others.16
“Expression of emotion with designs and colors. Also, a Modern art

movement.”
Its typical trait is to present the world solely from a subjective perspective, distorting it
radically for emotional effect in order to evoke moods or ideas. Expressionist artists
sought to express meaning or emotional experience rather than physical reality.
Expressionism emerged simultaneously in various cities across Germany as a response

to a widespread anxiety about man's increasingly discordant relationship with the
world, his lost feelings of authenticity and spirituality. In part a reaction against
Impressionism and academic art, it was inspired most by the expressive and Symbolist
currents in late nineteenth century art. Vincent van Gogh, Edvard Munch, and James
Ensor proved particularly influencial on the Expressionists, and encouraged them to
distort forms and employ strong colors to convey a variety of anxieties and yearnings.
The classic phase of the movement lasted from approximately 1905 to 1920, and spread
across Europe. Its example would later inform Abstract Expressionism, and its
influence would be felt throughout the century in German art. It was also important for
the Neo-Expressionism of the 1980s.17
Frank Lloyd Wright was by far America’s most versatile architect. Although he cannot
be considered an Expressionist in the true sense of the term, some of his post-war
buildings clearly embody the values and formal ideas associated with Neo-
Expressionism. The Guggenheim Museum in New York is, par excellence, a Neo-
Expressionist icon. In the 1940’s, Wright produced some highly unconventional houses
which were radical departures from his earlier Prairie domestic architecture. Neil
Levine speaks of the figurative nature of Wright’s Prairie houses which can be read and
understood much like the figurative paintings of Cezanne and Picasso. In the
16
Hernan Casakin1 and Stefano Mastandrea, (2009), Aesthetic Emotions and The Evaluation Of
Architectural Design Styles, University of Brighton, UK
17
www.TheArtStory.org/ your guide to modern art
February 15, 2016

Herbert Jacobs House (1944) in Middleton, Wisconsin, known as the Solar Hemicycle,
the domestic figuration is gone and the forms bear little resemblance to the
conventional elements that make up Wright’s Prairie houses.18
Figure 28 Wright’s prairie house, Frank Lloyd Wright, Chicago, America (1885)
2.3.4.4 Case study

In case of Mekelle there are above thirty-five existing and proposed entertainment
places. The problem with these places is that these places are not designed for the
purpose they serve. Some of the entertainment places studied include dejen park,
Romanat square, Tigray regional stadium, Lucy park, and Sewhi Negus festival site.
Figure 29 Dejen amusement park,, Mekelle, Ethiopia photo by Feven Tesfay
Dejen amusement park- is park owned by an investor designed to create excitement

and playfulness to children. The place is located around Hawzen square next to Atse
Yohannes castle. The area is 3049.06 sq. m it has different gaming equipment’s and
restaurant.
18
Adrian Sheppard, Fraic,(1916), The Return Of Expressionism and The Architecture Of Luigi Moretti,
McGill University, Montreal, Canada
February 15, 2016

Figure 30 Romanat Square, Mekelle, Ethiopia photo by Feven Tesfay
Romanat square has been serving as square and concert and expo center for a long time.
Figure 31 Lucy park, Mekelle, Ethiopia photo by Feven Tesfay
Lucy park- is park owned by a private investor. It serves the local community. The
place is located around Hawzen square next to dejen amusement park. The area is
3542.93 sq. m.
February 15, 2016

Figure 32 Tigray regional stadium, Mekelle, Ethiopia photo by Feven Tesfay
Tigray regional stadium -It is the largest stadium in Tigray. The construction started
about 6 years ago. The construction is ongoing but now it is open for use. It is located
next to Hawelti monument site.
Figure 33 Mohe Ambessa statue, Ethiopian National Theatre, Addis Ababa, Ethiopia, photo Feven Tesfay
Name: Ethiopian national theatre
Former name: Haile Selassie I theatre
Architects: Unknown
Location: Addis Ababa, Ethiopia
Client: Emperor Haile Selassie I
Owner: The Government of Ethiopia
Number of seats: 1260 Peoples
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Project Year: 1940s-1955
Finished in :1955
Photographs: Feven Tesfay
The building has the grandness when entering. The materials and the color gives the
lace a royal feeling and greatness. The hall had begun to be built during the Italian
occupation as the cinema Marconi with some 350 seats. The building was later
completed in 1955 for the celebration of the silver jubilee, and expanded to seats 1260
people. The theatre group was founded by the government in the late 1940s, with the
main objective of playing Ethiopian songs by soloists accompanied by a modern
orchestra. The theatre is divided into two directorates, one for theatres and other for
music.
Figure 34 Ethiopian National Theatre, Addis Ababa, Ethiopia, photo Feven Tesfay
Figure 35 interior view of the Ethiopian national theatre, Photo Feven Tesfay
February 15, 2016

Figure 36 Grand corridor of the Ethiopian national theatre, Photo Feven Tesfay
International case study

Disneyland resort
Industry: amusement parks and resorts
Founded: July 17,1955: 60 years ago
Founder: Walt Disney
Headquarters: Anaheim, California, U.S.
Owner: Walt Disney parks and resorts (the Walt Disney company)
Other Disneyland’s in the world: Disneyland Paris in Paris, Tokyo Disney Resort in
Tokyo, and Walt Disney World Resort in Florida, Disney is not for children nor that it
is for adults. It is for every age. The unique behavior of the place is that it can be
accessed by everyone.
Figure 37 Parade routes and theatrical venues aren't the only places where Disneyland Resort
guests encounter live entertainment. www. Mouseinfo.com
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Attractions
Parks: - Disneyland Park, the original theme park built by Walt Disney, which opened
on July 17, 1955. Disney California Adventure Park, a theme park that celebrates the
history and culture of the Golden State, which opened on February 8, 2001.
Shopping, dining and entertainment: - Downtown Disney, an outdoor retail, dining

and entertainment district located between the entrance promenade of the Disneyland
Resort theme parks and the Disneyland Hotel, which opened on January 12, 2001.
Resort hotels: - Disneyland Hotel, the original hotel built by Jack Wrather which
opened on October 5, 1955 and was acquired by Disney in 1988. Disney's Grand
Californian Hotel & Spa, based on the craftsman style of architecture of the early 1900s,
which opened on January 2, 2001. Disney's Paradise Pier Hotel, a hotel themed after
the section of Disney California Adventure it overlooks, which opened in 1984 as the
Emerald of Anaheim, later changing its name to the Disneyland Pacific Hotel in 1995
after its acquisition by Disney, and finally opening under its current name and theme
on December 15, 2000. Walt Disney's early concepts for an amusement park called for
a "Mickey Mouse Park" located adjacent to the Walt Disney Studios in Burbank
(presently the site of the West Coast headquarters of ABC). As new ideas emerged,
Figure 38 Sleeping Beauty Castle in Disneyland, Anaheim
Walt and his brother Roy realized that the Burbank location would be too small for the
project, and hired a consultant from Stanford Research Institute to provide them with
information on locations and economic feasibility. The consultant recommended a
remote location near Anaheim, adjacent to the then-under-construction Santa Ana
Freeway. The consultant correctly predicted that the location – covered by orange
groves at the time – would become the population center of Southern California. Since
the location was far from Southern California population centers in the 1950s, Walt
Disney wanted to build a hotel so that Disneyland visitors traveling long distances
could stay overnight. However, the park had depleted his financial resources, so he
negotiated a deal with Hollywood producer Jack Wrather in which he would build and
operate a hotel called the Disneyland Hotel across the street
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from Disneyland. People love Disney in a way that makes romantic love look weak.
There is no more fanatical and intense fandom than the Disney fandom and there’s a
good reason for that. Disney’s success largely hinges on psychological theory and
there’s no better example of this than the physical embodiment of the world Walt
Disney created in the form of his theme parks and resorts. Here are the two major
psychologies behind Disney’s theme park success.
Lead in/tease -The lead in, or “tease” element of Disney’s resorts gives you a constant
feeling of ascension, an upward movement that begins when you board the bus at your
resort in the morning and continues through the pearly gates, up Main Street U.S.A,
and all the way around the park as you make continuous transitions from one world to
the next.
Color Psychology- The colors that make up the visual art of Disney’s theme parks are
carefully chosen. Cool blues, greens, grays and silvers, neutrals and whites– these color
combinations are psychologically proven to create feelings of calm, patience and
happiness. That color has been scientifically proven to stop even serial killers in their
tracks. It’s the most calming, relaxing color in the visual spectrum, capable of turning
football teams into a litter of kittens and UFC fighters into Bob Marley.
2.3.5 Setting tone to the design

2.3.5.1 Emotions in elements of art/architecture
When discussing art, one often concentrates on content and form. Content refers the
subject matter, story, or information that the artwork seeks to communicate to the
viewer. Form is the purely visual aspect, the manipulation of the various elements and
principles of design. Content is what the artists want to say, form is how they say it. In
order to completely understand and discuss a work of art, it is advisable to thoroughly
study the concepts involved in producing a final composition. These important
concepts are the art elements and principles of design. The art elements are the basic
components used by the artist when producing works of art. They include color, line,
shape, form, texture, and space.
Color schemes: a) Analogous: Combination of several hues which sit next to each other
on a color wheel (blue, blue-green, green, and yellow-green is an analogous color
scheme).
b) Monochromatic: Use of only one hue that varies in value.
c) Triadic: Use of three hues equally spaced on a color wheel.
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Color can represent emotions (“I was green with envy.”) or symbols (“A good friend
is true blue.”). It can be purely subjective or objective depending on how they are used.
Artists can use color arbitrarily. Colors can be visually mixed. The artist places two
pure colors side by side in small areas so the viewer’s eye will do the mixing. it can be
used as emphasis, to guide the viewer to one specific part of a painting.
Figure 39 Emotional and psychological meaning of colors, Photo Sarah Fournier
Color can produce visual balance. it can produce a sense of depth. In terms of spatial
illusion, dust in the earth’s atmosphere breaks up the color rays from distant objects and
makes them appear bluish. As objects recede, colors become more neutral and bluish.
Color can have advancing or receding qualities (due to slight muscular reactions in our
eyes as we focus on different colors). Objects that are closer have more contrasting
colors than those that are farther away. Artists regularly employ this phenomenon in
landscape paintings. Color discord is when two colors are used together in an attempt
to make the viewer feel uneasy.
Lines: Horizontal lines imply rest and repose. A vertical line implies potential for
activity and sturdiness. A diagonal line most strongly suggests movement. Lines can
define a shape or have the illusion of mass. It can create a texture or pattern. Lines can
February 15, 2016

be used to create value. It can be two dimensional (drawing) or three-dimensional (wire

sculpture).
Figure 40 optical illusion of vortex floor carpet, video game store, Paris(2011),Photo James
Dean
Shape: Shapes can be geometric or freeform.
(a) Geometric shapes are based on math.
(b) Freeform shapes are generally based on natural forms, even though some geometric
shapes can be found in nature (honeycombs, snowflakes, crystal formations, etc.).
Shapes can be rectilinear (composed of sharp angles or lines) or curvilinear. Sometimes

positive and negative shapes are integrated to such an extent that there is
February 15, 2016

truly no visual distinction. A shape may be positive or negative. The positive shape is
the main figure, while the negative shape is the empty space surrounding it. The terms
figure and ground may also be used.
Form: The term form is often used as a synonym for shape, although many consider
forms to be three dimensional (having length, width, and depth), while shapes are two-
dimensional. Thus forms may have value or mass. As with shape, a form may be
geometric or freeform. A triangle is a shape while a pyramid is a form. Cubes, spheres,
cones, and cylinders are also forms.
A shape defined by value, A shape defined line, A shape defined by texture, A shape
defined by color
In this case, the positive shape (figure) is white, the negative (ground) is black. This
semi drawing uses lines to create shapes, describe textures, and give the illusion of
mass.
A form may be opened or closed.
Closed form: A self-contained or explicitly limited form; having a resolved balance of

tensions, a sense of calm completeness implying a totality within itself.
Open form: A form whose contour is irregular or broken, having a sense of growth,
change, or unresolved tension; form in a state of becoming.
Figure 41 Falling water, Architect: Frank Lloyd Wright, Western Pennsylvania, United States(1964)
Texture: Texture is the surface quality or feel of an object. Even when we might not
actually feel a texture, our memory provides a sensory reaction or sensation of touch.
Objects may be rough, smooth, sticky, bumpy, scratchy, prickly, soft, etc.
Textures may be implied or actual.
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a) Actual (or tactile) textures can be felt with the fingers.
b) Implied (or visual) textures are suggested and purely visual.
Many works of art, such as collage, sculpture, and paintings (impasto) possess an actual
texture. Trompe L’Oeil paintings simulate visual texture in an attempt to fool the eye.
Pattern is defined as a repetitive design with the same motif appearing again and again.
Texture can also repeat, but its variations usually do not involve such perfect regularity.
The essential difference between texture and pattern seems to be whether the surface
arouses our sense of touch or merely provides designs appealing to the eye.
Space: The element space refers to the distance or area between, around, above,
below, or within things. Forms physically occupy space. In two-dimensional art
forms, such as drawings, paintings, and prints, the artist often wants to convey a
feeling of space or depth. Here space is an illusion and is completely optional. Ways
to create the illusion of space (depth):
Size is the easiest way to create the illusion of space. Objects farther away will appear
smaller. In some art, size is used to show importance rather than space (referred to as
hieratic scaling). Vertical location is Items that are farther away may appear higher on
the picture plane. And Overlapping is Items that are closer to the viewer may overlap
those that are farther away. There are principles of design also important in creating
emotional spaces like balance, emphasis, movement, proportion/scale, rhythm unity
and Varity. By manipulating some of these an emotional entertainment area will be
produced.
Interactions between color and space perception. Since both spatial dimensions and
colors are primarily visually conveyed, their perception and probably also experience
is not completely independent. Indeed, normative architectural knowledge provides for
some rules of thumbs concerning the influence of colors on perceived room
dimensions. Generally, cool, desaturated, and light colors are considered to increase
the experienced spaciousness, whereas dark, saturated, and warm colors tangentially
have opposite effects. These characterizations fit well to the at least qualitatively well
documented phenomenon of color perspective (e.g., Nemcsics, 1993; Bailey, Grimm,
& Davoli, 2006). Analogously, in applied color design it is recommended to make
extensive use of saturated dark only in large rooms (Frieling, 1974).
Integration of multiple factors into emotional responses. While there are several
theories on the influence of single factors on affective responses, theoretic frameworks
or empirical findings explicitly addressing the interaction of environmental factors
influencing affective responses are rare. However, single factors studies provide at least
a basis for specific hypotheses: Often significant linear correlations between rated
affective qualities and multiple variables became apparent (e.g., Nasar, 1988; Stamps,
February 15, 2016

2005). In other words, these statistical observations suggest the existence of at least
partially independent linear terms. Therefore, one simplified model could be termed
superimposition without interactions. This hypothetic models gains some further
support by an analysis of the distribution of individual affective appraisals (cf. e.g.,
Franz, 2005, pp. 172-175) that usually approximate a normal distribution.
2.3.5.2 Major cognitive spaces in architectural design

Staircases: In architecture, a stairway should serve as visual focus and spatial
connector. In general, stairways should help integrating vertical information while
exploring multilevel buildings and they should ease experiencing the layout spatially
with respect to the building as a whole. Stairways are architectural design elements in
their own right and not just technical components of the building for going up or down.
They function as a significant circulation node as well as a vertical interconnection
between different levels of the building and thus enable the movement flow between
the levels of the building.
Figure 42 Gary Curnick’s Stairs.(2011) photo Louise Bjroling
During vertical motion, well-designed stairways can provide access to various

perspectives of the interior organization of the building and thus facilitate its legibility.
Also, investing time into the design of stairways has yet another facet: Individual floor
plans may be readily changed to suit specific tenant requirements, but the facilities for
pedestrian circulation between the floors in the building are fixed. Vertical circulation
is one of the most important aspects of good building design in architecture. So, when
planning the design of staircases architects generally have to take into account two key
design parameters. First the constructional and representational form of its appearance
have to be highlighted with respect to the function of the building and second the
position of the stairway has to be optimized in relation to the user’ s activity within the
February 15, 2016

layout. Ideally, stairways of a building represent its functional framework and

accordingly, architects speak about the spatial nerve tract of the building. Users do not
readily perceive a main stairway to the upper floors. Using the foremost stairway (near
the entrance), there are a lot of spatial twists and turns without an opportunity for
controlling one’s location. This deficit is at least partly due to the complete lack of
visual access to the outside, which would help to improve spatial updating.
Additionally, the number of rotations within the stairway plays a great role for the
user’s stability of his cognitive map of the building. 19
Entrance and survey decks: The entrance hall is indiscernible. For public buildings
the entrance hall symbolizes the most important point in the layout. The essential
function of the entrance hall is to be readable as such and to cognitively structure the
route network, especially for unfamiliar visitors, who clearly rely on central-point-
based strategies. However, this function is not properly met, which imposes a usability
deficit on the building as a whole. For the user entering the entrance hall, within
complex spatial settings architects and designers have to create places of survey and
overview to allow users to build well-integrated spatial knowledge. Visibility is one of
the most important qualities of architectural spaces and consequently fundamental to
the general understanding of built environments.20
Figure 43 Chitwa Chitwa Private Game Lodge, Gowrie Main, Sabi Sands Game Reserve, South Africa
Floor space and dead ends: The layout of the floors is incongruent. In the planning of
complex buildings architects have to pay attention to the uncomplicated and insightful
organization of floors. From a building usability point of view, this (a) prompts
improper assumptions in the users about the route networks and (b) hampers
19
Jatish Bag, Reader, Dignity College of architecture, Anjora, Durg Chhattisgarh, (2012), The
architectural spaces and Their psychological impacts, Vishakhapatnam, India www.dignitycollege.com,
Email ID – jatisharchi@gmail.com
20
Penn, A. (2003). Space syntax and spatial cognition: Or, why the axial line? Environment and Behavior,
35(1), 30–65.
February 15, 2016

the mental alignment of levels. It is very important in architecture and particularly for
public buildings such as universities, recreational centers, hospitals or conference
centers to pay attention to always provide an alternative route to any navigational
Figure 44 Salk institute, La jolla,CA (1985), Photo courtesy Salk institute
decision. Dead ends block the user’s exploration activity and are extremely difficult to
operate within the mental representation of the building in respect to the levels above
and vertical information in general. But there are several locations that can be
characterized as ‘‘dead space’’, ‘‘dead ends’’ or ‘‘blind alleys’’. For example, the
public area surrounded by the living quarters leads to a dark and uncomfortable
corridor. Users will not expect the stairways at the end of the corridor and thus miss
relevant route choices and feel lost in dead ends.
Transitional spaces and building interiors: The interior building structure is not
distinguishable. To understand a building layout both the exterior and the interior
structure of a public building has to be effortlessly understood. Looking at the floor
Figure 45 University Library By Rh+ Architecture, Guyanese University Campus Demerara-Mahaica,

Guyana, (2014) Marco Rinaldi
February 15, 2016

plan, the dissimilarity of geometrical shapes and architectural forms would appear to
be helpful for the users to orientate themselves. But in fact, when actually navigating
in the building, the different subsections are no longer readily recognizable, leading to
a lack of visual differentiation. There is too little differentiation of public and private
space. When planning multi-functional public buildings architects have to bear in mind
to separate private or personal space from public space. This rule serves the purpose of
integrating two disparate spatial systems within one building. There are a lot of
mistaken public and private areas within the conference center, which results in
disorientating the user and the production of unnecessary dead ends. Therefore, public
spaces have to be clearly indicated both by architectural layout and signage. 21
2.4 Different theories of different times

The impetus for studies of environment, culture, and behavior is, at least in part, to
contribute to the knowledge base of the design disciplines involved with the production
of the physical environment. It is commonplace that the design disciplines have an
inherent social dimension: They contribute to sustaining patterns of behavior,
understanding, and social relationships, even though they manipulate physical
resources. Nevertheless, as Hillier and Leaman (1973) argued in the early days of
environment behavior studies, this is not because the built environment can causally
affect, significantly constrain, or conditionally enable individual behavior. 22
Space syntax can provisionally be defined as a set of analytical techniques associated

with the theoretical ideas first presented by Hillier and Hanson (1984) in their book
The Social Logic of Space. For the purposes of our argument, however, space syntax
is a convenient way to refer to a relatively coherent body of literature. Before this
argument is developed, two basic theorems will be reviewed briefly. These theorems
are chosen to illustrate two contrasting ways in which built space works socially. The
first examines linear spaces, such as streets in urban areas or circulation in buildings,
and the paths of movement along those spaces. This theorem suggests that, if the
building or urban area is considered as a system that carries movement from every
space to every other space within the system, certain spaces, those that are most directly
connected to every other space in the system, will tend to attract higher densities of
movement.Put simply, more direct universal accessibility implies a higher probability
that a space will be used for movement. The theorem has three corollaries.
21
Jatish Bag, Reader, Dignity College of architecture, Anjora, Durg Chhattisgarh, (2012), The
architectural spaces and Their psychological impacts, Vishakhapatnam, India www.dignitycollege.com,
Email ID – jatisharchi@gmail.com
22
February 15, 2016

First, it suggests that the distribution of movement is a function of spatial

configuration—the theory of “natural movement” ( Hillier, Penn, Hanson, Grajewski,
& Xu, 1993). Second, it brings into focus a particular form of community that is based
on the pattern of coawareness and copresence arising as a by-product of movement—
the theory of “virtual community” (Hillier, 1989). For example, coffee shops and other
gathering places typically take advantage of locations that provide greater exposure to
“liveliness.” Third, it sets the foundation for treating spatial systems as economies,
where particular space uses locate according to their dependence, positive or negative,
upon passing movement (Hillier, 1996). For example, retail business tends to be
located along the most directly accessible streets of a town. The first theorem endows
space with a “generative” function: It suggests that extraneous social rules or practices
do not need to be postulated in order to account for the distribution of movement
according to spatial configuration. Social implication, or meaning, arises “from spatial
configuration” itself.
The second theorem addresses the underlying spatial relationships that come into our
common definition of building types. For any given building type there are some labels
that are typically used to describe its component parts by activity (e.g., “dining room”),
social rule (e.g., “private room”), or function (e.g., “reception”); it is intuitively known,
however, that a list of component spaces is not a building. Buildings set component
spaces into particular patterns of relationships. The precise patterns vary from design
to design. The second theorem suggests that invariance resides in the statistical
tendency for some labeled spaces to be more directly accessible, in the plan as a whole,
than other labeled spaces (Hanson, 1999; Hillier & Hanson, 1984; Markus, 1993). For
example, we would expect the “living room” to be more accessible than the “master
bedroom” in the context of the plan of a house. The theorem endows space with a
reproductive function. The fact that some set of labels that informs our understanding
of the social program of a building sustains a stable, if abstract, spatial relationship
suggests that space contributes to the reproduction of social schemas.
Robert B. Bechtel and Arza Churchman(2002)in their book Handbook of

Environmental Psychology argues that the impetus for studies of environment, culture,
and behavior is, at least in part, to contribute to the knowledge base of the design
disciplines involved with the production of the physical environment. It is
commonplace that the design disciplines have an inherent social dimension: They
contribute to sustaining patterns of behavior, understanding, and social relationships,
even though they manipulate physical resources.
Nevertheless, as Hillier and Leaman (1973) argued in the early days of environment
behavior studies, this is not because the built environment can causally affect,
significantly constrain, or conditionally enable individual behavior. This may be the
overriding connection in special contexts only. Since its nineteenth-century elevation
February 15, 2016

to a general principle, the dogma of “architectural determinism,” has frustrated the

development of theories of the social and behavioral significance of built space.
Rather, the spatial structure of the built environment always embodies principles
through which we make sense of social relationships and behaviors and learn to
anticipate their normal flow; also, the spatial structure of the built environment
produces or sustains statistical and collective effects of coawareness and copresence.
In short, the pervasive effects of the spatial structure of environment upon behavior are
indirect. They occur through the positioning of collective actors rather than through the
prescription of action. With these caveats out of the way, the literature of space syntax
has directly engaged questions of design.
While questions of social function and behavioral implication may not be explicitly
foregrounded in current architectural discourse that elucidates the brief, they are
necessarily implied in the commissioning of designs, the charge. However, as Hillier
(1996) has argued, spatial knowledge is largely nondiscursive, and as we have
suggested earlier, the spatial correlates of programs are seldom explicitly and fully
described in the commissioning documents.
The contribution of analytic theories such as space syntax may be sought in the
reconstruction of the underlying spatial aspects of charge through a systematic analysis
of relevant precedent. The search for formal design innovation, the brief, always has to
interact with the spatial aspects of charge, however implicitly, and this, ultimately, is
one of the key criteria for the viability and sustainability of formal design innovations.
In addition, we would like to observe that the spatial and functional aspects of charge
should be thought not so much as a latent imposition but rather as a field of significant
design choices that is more or less explicitly understood by designers. At any point in
time, similar design problems are confronted in a relatively limited number of ways,
whether we think of these as “stereotypical solutions” (Hawkes, 1976), “underlying
design assumptions” (Duffy, 1974), “recurrent genotypes” (Hillier & Leaman, 1974),
or “historically evolved types” (Colquhoun,
1981). The contribution of analytic theories of space and function is to make these
choices explicit as well as to suggest the principles on the basis of which such received
ranges of choices can be conditionally redrawn or overcome through deeper design
innovations. This task brings together the potential contributions of analytic theories to
the retrospective understanding of design intentionality, and the prospective
involvement with design formulation.23
23
Robert B. Bechtel and Arza Churchman (2002), Handbook of Environmental Psychology, John Wiley
& Sons, Inc., New York. P. 292-306
February 15, 2016

“The environment,” “nature,” and other constructs used for referring to places,
landscapes, homelands, and human settings are simultaneously constructions and
idealized places as well as objective environments (e.g., Grauman & Kruse, 1990;
Macnaghten & Urry, 1998). However, environmental psychologists have mainly
focused on physical environments as the objectified research setting, with less
consideration given to perceptual, cognitive, affective, social, cultural, and symbolic

processes that are integrally involved in how we experience, understand, respond to,
and transact with “objective” and “meaning-full” environments. Rich literatures exist
on place meaning and attachment (Altman & Low, 1992), phenomenological ecology
and environmental psychology (Seamon & Mugerauer, 1995), the conceptual and
symbolic domain of place and placelessness, landscape and meaning (e.g., Berleant,
1997), and the status and implications of constructed spaces, places, and worlds (e.g.,
Robertson et al., 1996), but this important work is not well reflected in current urban
and regional planning and environmental impact assessment, where dramatic changes
to important places continue to exact appreciable human distress and costs (Van den
Berg, Hartig, & Staats, 2007). Individual and sociocultural constructions of place and
environment pose multiple challenges when issues related to risk, beauty, place
meaning, environmental values, concerns, and behavioural intentions are involved.
This is because the way we think about environmental risks, problems, and
environmental quality profoundly influences the decisions we make, the environments
we design and build, the intervention strategies and solutions we initiate in the face of
perceived threats, and how we experience, respond, and adapt to our objectively ‘real’
natural and built environments.24
One of the desires of designers is to create a positive motivational and trustworthy place
for the users. In order to get positive response, designers should create positive
emotions. Norman et al.’s Emotional Design Model (2004) Separates response into
visceral, behavioral, and reflective levels. Visceral like look, feel, sound (iPhone, new
car), Behavioral or traditional usability and Reflective as in meaning/personal value
(Swatch/Luxury Car). He Claims that state affects thinking like if Happy it is more
likely to overlook small problems and Angry/Anxious is less tolerant.
McCarthy and Wright’s Technology as Experience Framework (2004) propose four

core threads. These are Sensual thread as in Thrill, fear, pain, comfort, Emotional thread
like Sorrow, joy, anger, happiness, Compositional thread Like Thinking we do during
experiences, and Spatio-temporal thread in Context of experiences.
24
Robert Gifford, Linda Steg, and Joseph P. Reser, environmental psychology, IAAP Handbook of
Applied Psychology p. 441-470
February 15, 2016

Jordan’s Pleasure Model (2000) focuses on pleasure and benefits. There are Four
levels and these are Physio-pleasure like touch, taste, smell, Socio-pleasure like being
in company of friends, Psycho-pleasure like emotional/cognitive reactions to products
or environment and Ideo-pleasure in cultural and personal values attributed to an
environment.
The functional architecture of the entertainment experience just presented integrates

available theories and research to enhance our understanding of the emotion-
entertainment relationship. It was proposed that we view the entertainment experience
not just as containing emotion, but as thoroughly emotional in nature, with two sets of
emotions acting as the cornerstones connecting distal with proximal causes of
entertainment activity, linking a remote need for development of adaptive functions,
on the one hand, and an immediate attraction, on the other. As in all emotion, distal
causes of affect, that is concerns, do not have to be conscious, but once emotional
programs are running, we are subject to their control of our perceptions, activities,
motivations, and feelings. Once we are in an entertainment episode and interest is
caught, we are unaware of any remote pedagogical functions of our engagement, but
feel an urge to continue and intensify our active engagement. Once our empathy is
activated, we are not aware of a need to care for other people or of any other general
concern, but it is hard for us to withdraw from the emotions, almost regardless of how
painful they may be.
2.5 Building design influence on the environment psychology and vice versa
“Architectural psychology can be described as a branch of environmental or
ecological psychology. This deals with the psychological processes of the interaction
between man and his environment, as for example spatial perception, spatial thinking,
orientation behavior, or spatial experience, territorial behavior, living requirements
and satisfaction, local identity. “
When an occupant experiences a building, they immediately become involved in an

array of overlapping processes that all contribute to their experience — architectural
psychology focuses on such connections and can be applied to all building types. 25
2.6 Design constraints and important factors

2.6.1 Economy
One of the major factors why entertainment is considered as not important like in the
colonial era is the matter of economy.
25
Architectural Psychology Explained - Sensing Architecture by Maria Lorena Lehman.html (Lehman,
August 19, 2009)
February 15, 2016

Economy is one of the major problems in building a leisure area. It is also one of the
main areas where money is made. It can be from tourism, performance or concerts
because big crowds attend them and money gained form that can be helpful for the
development of the country.
2.6.2 Industry
Although kings, rulers and powerful people have always been able to pay for
entertainment to be provided for them and in many cases have paid for public
entertainment, people generally have made their own entertainment or when possible,
attended a live performance. Technological developments in the 20th century meant
that entertainment could be produced independently of the audience, packaged and sold
on a commercial basis by an entertainment industry. Sometimes referred to as show
business, the industry relies on business models to produce, market, broadcast or
otherwise distribute many of its traditional forms, including performances of all types.
The industry became so sophisticated that its economics became a separate area of
academic study.
2.6.3 Safety
Some entertainments, such as at large festivals (whether religious or secular), concerts,
clubs, parties and celebrations, involve big crowds. From earliest times, crowds at an
entertainment have associated hazards and dangers, especially when combined with the
recreational consumption of intoxicants such as alcohol.
3 Contextual Research
3.1 factual data presentation (contextual information)
Data collected from the interview
The basic classification of emotions from Paul Ekman is used to understand the
emotions of the people when they see the pictures given to them.
Most entertainment centers are age based and since the needs of an elder and a youth
differs it is important to divide it in to different age groups.
Table 6 Age Group and number of people interviewed.
elder
Children Youth adult
(50 &
(10-18) (18-30) (30-50)
above)
No of people No of people No of people No of people
interviewed 16 interviewed 20 interviewed 22 interviewed 4
Figure 46 The wheel of emotions, by SonicShell (2015)
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Contextual Research 51
Each picture given to these people have different themes and when the people
described the feelings of each picture, different emotions were drawn as illustrated
below.
Table 7 Data analysis and classification
GROUP THEMES CATEGORIES AGE PEOPLE’S REASON FOR SELECTION

GROUP EMOTIONS
1 Organic vs A A,B & Sad and It is organic youth center building with
Inorganic C Tender complex shape. It is unpleasant for the
Some eye. But adults considered it natural.
excited
B Sad It is a box shaped building and it is
selected to understand the preference of
the users in shapes. The shape is ok but
the darkness made it sad
2 Depressing A A,B & scared The building is depressing because of
vs C the color, shape, form. There are too
affectionate much elements
B Excited but The place is quite, alone but interesting
sad and amusing
3 Playfulness A B,C & Angry and Too complicated and frightening
D scared because it seems that it is going to fall.
B Scared Lots of complications
4 Light and A A,B & Angry It is dark and bold
color C
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B Tender Openness of the space and the scale

makes us to experience all the elements
all the elements of the space (interior
space)
5 Extraction A B&C Happy Bright and different
and B Angry but Ordinary, dark and ugly
subtraction excited
6 color A A,C & Excited It is not pressuring
D
B Tender Different colors sum up to tender
7 Crowdness A A,B & Excited Good for socializing
vs personal C
space B Excited & Enjoyable and personal
happy
8 Size of space A B&C Happy Bright large welcoming an nice
B Exciting Tragedy feeling
9 Greenery A A,B & Happy and New and relaxing
indoor vs C excited
outdoor B Happy Nature keeps us culm
10 Edges and A B,C & Excited Reflects light and good shape
curvatures D
B Happy Good formal composition
11 Horizontality A B,C & Excited Natural and non-pressuring
vs verticality D
B Sad It makes it look like a “bookshelf”
12 Small A A,B & Excited Unique and good scale
building vs D
big building B Excited Interesting
13 Edges A A&B Lonely and Not balanced and not in good shape
scared
B tender Unique and modern
14 Line A A,B & Excited and Make us wonder as if we are falling
architecture C scared
B Excited and Good view
scared
When asked what entertainment is for them they generally answered by saying
“anything that is interesting, important and that catches our attention. It can be
travelling, sitting in a green area or recreational.” They all agreed to the question if
Mekelle needs entertainment by saying that Mekelle’s entertainment places are poor
and needs to be developed. They continued by saying that there is no variety of
entertainment centers and most of them are boring.
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results 53
When “What kind of entertainment do you think Mekelle need? “was asked and they
listed some games they thought Mekelle needs. To list some concert halls, leisure
places, theatres, parks and gardens, festivals, sports, gymnasiums, cinema, game
zones, hotels, youth center, children playgrounds, Amusement parks and market
places. they answered that it is good to involve emotion to entertainment but has to be
selected. Same to world entertainment and culture and identity. The entertainment
center needs to have good mental health and good experience and memory.
3.2 data analysis

The data shows the great emotional impact building designs have and how, if
associated with emotion, can be profitable and useable. Complex shapes can be
unpleasant and natural and ordinary buildings are not favored. Dark colors are
depressing and bold. Private places could be exciting and sad where open and
gathering places can help socialize. Green places are relaxing, cause culm feeling.
When comparing horizontally long buildings and vertically long buildings, the
horizontal buildings are less pressuring than the vertical ones. Sharp edges are scary
and lonely but if controlled it can be unique and modern.
Entertainment places is very relaxing and interesting. In case of Mekelle there are less
chance that the existing entertainment places will meet the standards. Mekelle needs
entertainment centers and need to be distributed throughout the city. Family, friends
children, adults generally the people of Mekelle need a place where they can enjoy
with positive emotional responses.
4 results
4.1 CONCLUSIONS AND RECOMMENDATIONS
4.1.1 Summary of Research Findings
Emotions have been intertwined with architecture for designs like hospitals, work
spaces and the likes. Many researches have been done in it also. It is sometimes called
environmental psychology. But it has never been used in entertainment hall design.
Emotion is the response to the feelings that are felt during an activity or object. It
relates to our environment in ways that are both direct and indirect. Human beings are
severely associated with building that every time they move in and out they feel
differently. Both positive and negative. Because of this there is a high tendency to feel
bad or good which can be a risk for health, productivity, safety, decision making etc…
Entertainment is mainly focused on emotion. Good and bad emotions can be sensed in
entertainment areas. It is important to relate the environment with emotion to design
the best motivational and meaningful entertainment design. In this literature review
the concept of emotion, the different psychological impacts, the integration of
elements of art with psychology and others are discussed. The different ideologies of
different researched on the matter is reviewed and summarized. kinds of psychology,
these research talking about are social, cognitive and environmental psychology but
mainly environmental psychology because the effect buildings have on our lives is
more concerned with the physical environments and their impacts. By using the
different elements and principles of architecture and manipulating it. For example, in
order to create fear we use sharp edges, darker colors, rough textures, un balanced
shapes, hierarchy and in order to create happiness we use curvy shapes bright colors
and smooth textures. It is more associated with neo expressionist architecture.
Knowing or unknowing designers have been designing buildings with negative
February 15, 2016

emotions. Buildings have no meanings and no story behind them. Some buildings in
the world are neglected because they affect the psychology of the users and their
productivity. Best designs are making profits in the other side. The interior of mac
coffee has been very helpful in persuading users to buy more product. It may seem
dull concept but it has been affecting human beings majorly. Related to entertainment,
the major benefit is that it can show the power of emotion in human health and
relaxation and overcome the problems in ignorance of the importance of emotions in
design.
It can bring motivation and peace to the users and mainly the design will be user based
which is important to a successful design project. It is important to bring new but good
experience to the people.
Based on the analysis and the conclusive arguments, we can conclude that The lack of
standard entertainment center is visible. People are striving to be entertained. Places
for the specific group of people is not identified. In addition to this, the emotional
response to the existing entertainment centers are worse. Buildings are not
thoughtfully designed. Architectural elements have their own meanings in psychology.
Using these as an advantage and since architecture is an art this art, a networked
entertainment center needs to be designed. By introducing an emotional entertainment
center we will fulfil the starvation of emotions and entertainment.
4.1.2 Site Selection Criteria; Site Selection and Analysis

Entertainment Sites in Mekelle and Site Selection
Some of the major entertainment places are listed below on the map of Mekelle. These
places are not designed properly for the services they give. There are also restaurants
and bars everywhere in Mekelle.
Site selection criteria
Mainly 5 sites have been selected for the project. Through limited time only one is
being proposed.
1- Lucy park and Dejen park

These parks are currently working as amusement foe the youth and children. By
joining these parks, a bigger interesting amusement park can come out
2- Kebelle 16 clubs and coffee houses as an adult entertainment
3- Romanat square as live entertainment
4- Tigray regional stadium as public entertainment
5- Sewhi nigus festival site for some functions coordinated.
On this project sewhi nigus will be designed
Site selection criteria- The site is currently serving as a football field. It is also
proposed on the land use as an entertainment area. The location is favorable for
transportation and since it is next to the main road its land value is very high. The
location of the site is good because it is near the Atse Yohannes castle. There is Temket
activity next to the site once a year which makes it preferable to intertwine it with
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results 55
culture. The area of the site is 11349.11 sq. m. the site is irregular shaped.
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Figure 47 Existing and Proposed Entertainment places in Mekelle, Mekelle Cadaster Map
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results 57
SITE ANALYSIS
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Design Proposal 59
5 Design Proposal
5.1.1 PLANS
The concept of the design is to integrate pleasure and delight to the entertainment design. What more can
integrate architecture and emotion than nature. So by adding elements of art like lines and texture we achieve the
design.
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Design Proposal 61
Development of the design
By extending the neighboring lines we get these different shape. These shapes resemble continuity and
togetherness to the site. And by applying the different analysis above finally the design got its shape.
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REFERENCES 63
6 REFERENCES
1) Diener, E. and Lucas, R.E. (2000). ‘Subjective emotional well-being.’ In M. Lewis
and J.M. Haviland-Jones (Eds.), Handbook of Emotions; second edition (325-337).
New York: The Guilford Press.
2) 3TU winterschool - January 29, 2009 – Design for Emotion
3) Yanni, Carla, The Architecture of Madness: Insane Asylums in the United States
(Minneapolis: University of Minnesota Press, 2007) 55-59.
4) Robert B. Bechtel and Arza Churchman (2002), Handbook of Environmental
Psychology, John Wiley & Sons, Inc., New York.
5) eduard sioe-hao tan, Entertainment Is Emotion: The Functional Architecture of the
Entertainment Experience, Media Psychology, 11:28–51, 2008,Copyright © Taylor &
Francis Group, LLC Kloveniersburgwal 48, 1012 CX Amsterdam
6) Early history of recreation and leisure, chapter 3, Jones and Bartiett publishers
7) www.google.com/different kinds of entertainment
9) Eduard Sioe-Hao Tan (2008) Entertainment is Emotion: The Functional Architecture
of the Entertainment Experience, Media Psychology, 11:1, 28-51, DOI:
10.1080/15213260701853161
10) Christina Bodin Danielsson. (2010), The Office—An Explorative Study Architectural
Design’s Impact on Health, Job Satisfaction and Well-being, SE- 100 44 Stockholm,
Sweden
11) Jatish Bag, Reader, Dignity College of architecture, Anjora, Durg Chhattisgarh,
(2012), The architectural spaces and Their psychological impacts, Vishakhapatnam,
India www.dignitycollege.com, Email ID – jatisharchi@gmail.com
12) Antonino Cardillo: “Architecture as Entertainment”, in: «Fulcrum», no.77,
Architectural Association Press, London, Nov 18th, 2013, p.1.
13) Hernan Casakin1 And Stefano Mastandrea, (2009), Aesthetic Emotions and The
Evaluation Of
14) Architectural Design Styles, University Of Brighton, Uk
15) www.TheArtStory.org/ your guide to modern art
16) Adrian Sheppard, Fraic,(1916), The Return Of Expressionism and The Architecture
Of Luigi Moretti, McGill University, Montreal, Canada
17) Penn, A. (2003). Space syntax and spatial cognition: Or, why the axial line?
Environment and Behavior, 35(1), 30–65.
19) Robert Gifford, Linda Steg, and Joseph P. Reser, environmental psychology, IAAP
Handbook of Applied Psychology p. 441-470
20) Architectural Psychology Explained - Sensing Architecture by Maria Lorena
Lehman.html (Lehman, August 19, 2009)
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7 ANNEXURES
Pictures used for photo-illustrated questions in groups
Group Group
1 8
Group Group
2 9
Group Group
3 10
Group Group
4 11
Group Group
5 12
February 15, 2016

ANNEXURES 65
Group Group
6 13
Group Group
7 14
February 15, 2016

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School of Architecture and Urban Planning

Author Feven Tesfay

EMOTIVE AND ENTERTAINING PLACE

Mentor PhD Dominika Batista

Miss Feven Tesfay hallonanny@gmail.com

Mekelle University hallonanny@yahoo.com

Mekelle, Ethiopia Instagram @ feven.tesfay

Tel +25191299703 Twitter @Feventesfay

+251937006687 Facebook @ Feven.Tesfay.50

PLACE IN MEKELLE CITY

Author Feven Tesfay

Ethiopian institute of technology- Mekelle University

School of Architecture and Urban Planning, Mekelle University

Name Feven Tesfay Belay

Title-Emotive and entertaining place in Mekelle city

February 15, 2016

Name Feven Tesfay Belay

February 15, 2016

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List of Maps, Charts, Graphs & Tables

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Figure 1 Mekelle city map, 2011, Photo Google map

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1.1 Background (problem statement)

Today Ethiopia is growing fast and construction is everywhere. Because it is a

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Figure 2 Romant Square, Mekelle, Ethiopia, 2016, photo Feven Tesfay

Architecture contributes to a solution of two problems for a theory of

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1.4 Rationale and Justification

1.5 Research questions

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1.6 Scope and Parameters

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1.8 Organization of the thesis project

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2 Multi-disciplinary field of architecture and psychology in

Architectural psychology is a multi-disciplinary and multi professional field

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2.1.3 Types of psychology

Cognitive science can be roughly summed up as the scientific interdisciplinary study

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processing, perception, problem solving, and thinking.

Figure 4 Psych 12, www.sharepoint.tcrsb.ca

Michael A. Hogg & Graham M. Vaughan et al (2010) defined Social psychology as

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Environmental psychology is the study of transactions between individuals and

Figure 5 Barbican Center, Theater, Silk Street, London, UK, 1984

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Entertainment can be public or private, involving formal, scripted performance, as in

The functional architecture of the entertainment experience just presented

Figure 6 Disney California adventure park, U.S.A, 2001

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The view of entertainment experiences as thoroughly emotional answers some

Entertainment Is Emotion: The Functional Architecture of the Entertainment

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As prehistoric societies advanced they developed specialization of functions. Humans

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