Venetian Letter

Julia Hanuliaková studied architecture at Slovak Technical University, as well as historic preservation at the University of Oregon. She started focusing on zoo design, which she practiced at renowned studios Jones & Jones Architects and The Portico Group. In 2012, she has founded her own studio Zoo Design Inc, which worked on projects for zoos in USA, Canada, Germany, Ireland, Russia, Finland and others. In 2020, she became a director of the zoo in Bratislava, Slovakia.

Natalia Olszewska: I’ve seen your website, I’ve read about your professional experience, and I’m looking forward to exploring the intersections between human and animal design! How did you get into this field?

Júlia Hanuliaková: I went through the classic architectural education and what I’ve noticed is that the school did not provide me much background on the human experience. I got confronted with psychology only when I started to work with animals. Pretty much all the ideas about how we can create better spaces for animals came from human psychologists that over time switched to animals.

Michal Matloň: When you think about a design of a zoo, what part of it is about designing for animals and what part is designing for humans?

Michael Diamant studied society planning at Stockholm University and has a great interest in architecture, city planning, urban sociology, demography, history, and social anthropology. In 2013, he started a Facebook group promoting new traditional architecture, which has since grown to over 25 000 members. One year later, a member of this group started a group Arkitekturupporet (Architectural Uprising) that has grown to over 50 000 members, transformed the debate about architecture in Sweden, and spawned multiple local groups in Norway, Finland, Denmark, and other countries. Portuguese translation of the article can be found here.

Natalia Olszewska: Welcome, Michael! Could you tell our readers about what you are interested in and how this interest started?

Michael Diamant: I studied society planning and urban sociology at Stockholm University. I’ve always been interested in architecture and city planning, specifically classical city planning. I am very interested in urban sociology, demography, history, culture, and social anthropology. I am also interested in architecture but I don’t have deep architectural knowledge other than that I know the different styles and the key to a good facade.

A long time ago, I noticed that old buildings usually seemed very beautiful to me, and the new ones didn’t. What I also noticed is that the majority of people see it the same way, and they vote with their feet. Maybe people don’t always dare to say that they find most modernist buildings ugly, but where people spend vacations, where people want to hang out, tells you a lot. 

Colin Ellard is a cognitive neuroscientist at the University of Waterloo and director of its Urban Realities Laboratory. Colin works at the intersection of urban design and experimental psychology. He is a practicing scientist but he also works in collaboration and partnership with architects, museums and other NGOs on projects meant to enrich public debate about the built environment. He is a member of the advisory committee for the Academy of Neuroscience for Architecture, an Urban Design and Mental Health Fellow, and a Salzburg Global Fellow. Ellard’s most recent book is Places of the Heart.

A Sudden Twist

Natalia Olszewska: In your TEDxWaterloo talk, you mentioned a sudden twist in your scientific career. You said you weren’t interested in human-environment relationships from the beginning. Something happened around 2005 and you isolated yourself on an island. Could you tell us the rest of the story? 

Colin Ellard: Oh man, that was a tumultuous period in my life. You know, some like to call it a ‘midlife crisis’. But then one of my colleagues said: ‘You don’t honestly think you’re only halfway through your life. How long do you think that you’re going to live?’

Harry Francis Mallgrave is a Distinguished Professor Emeritus at Illinois Institute of Technology and an Honorary Fellow of the Royal Institute of British Architects.  He received his PhD in architecture from the University of Pennsylvania and has enjoyed a career as a scholar, translator, editor, and architect. He has published more than a dozen books on architectural history and theory, including three considering the relevance of the new humanistic and biological models for the practice of design. His most recent book, Building Paradise: Episodes in Paradisiacal Thinking, is currently in press with Routledge Publications. Drawing upon a theme first raised by Alvar Aalto, it offers both a selected history of the idea of paradise as well as a ‘garden ethic’ for the ecological practice of design.

Michal Matlon: Nikos Salingaros said that most of what is usually called architectural theory is not really a theory, since it holds no predictive value about the impact of the built environment on people. Would you agree that’s the case? And with the increasing introduction of scientific research as an input into the decision making of architects today, do we need to change the definition of architectural theory as such?

Meredith Banasiak is a Director of Research for BA/Science, a research and innovation group of Boulder Associates Architects. As a former faculty member in architecture and environmental design, Meredith integrated neuroscience concepts into her studio and human behavior courses to support designing for human diversity across physical, sensory and cognitive abilities. She gained experience as a Research Assistant at the Krasnow Institute at George Mason University and during her time as a Research Associate with the Academy of Neuroscience for Architecture. Meredith is a Fellow with the Centre for Conscious Design, and has published in psychology, medicine and architectural research journals and books.

Natalia Olszewska: Could you tell us what happened that as an architecture practitioner you have started to lean towards neuroscience?

Meredith Banasiak: Well, what we do isn’t very different from who we are. All my life I have struggled with sensory stimulation from the environment and was not able to inhibit intense sensory stimuli as a child. I would be in places where I felt like my brain was being hijacked by my surroundings. And because of what was happening around me, I couldn’t control my attention, my emotions and my cognition.

So, when I was growing up, I wanted to both understand what was happening in my brain, but also I wanted to design the environment, so this wouldn’t happen to others. I feel like I’ve spent my education preparing for a career that didn’t exist yet. I have just followed what I was curious about, which was natural sciences and the classics. I studied Latin, Greek and classical archeology.

Natalia: Could you tell us more about when and how did you connect with the Academy of Neuroscience for Architecture?