Soru

Arthur Pendelton’s designs for the mid-century civic offices in Leeds were routinely condemned by the municipal council as monumentally stubborn, representing a willful refusal to adapt to the light, airy glass-and-steel aesthetic favored by his peers. Critics pointed to his massive, windowless concrete facades as evidence of a misanthropic desire to shut out the public. However, Pendelton's diaries from the construction period suggest a completely different motivation. He did not hate the public, nor did he possess a dogmatic attachment to Brutalism; rather, his designs were dictated by a severe, lifelong hypersensitivity to visual noise and natural glare. Pendelton wrote of his desperate need to create spaces that functioned as sensory dampers, shielding occupants from what he described as the 'exhausting chaos of the unregulated sky.' His heavy, protective walls were not designed to exclude the citizenry, but were a direct manifestation of his own physiological craving for visual stillness and absolute shadows.

According to the passage, Pendelton’s windowless designs were a direct reflection of which of his personal traits?