Movement of the User in the Built Space
Case Study of two different buildings by Vastu
Devanshi
Khant1, Digisha Mehta2 kddevanshi@gmail.comX semester
Shilp ConsultantsInstitute of Architecture and Planning, Nirma University
2 digisha.mehta@nirmauni.ac.in
Faculty of Architecture
Institute of Architecture and Planning, Nirma University
Abstract
Architecture is an art and science of making buildings composed of spaces and has much more to do than providing shelter. It is created by a unified combination of varied artistic spaces that are an essential design element. “When building physical spaces, we are also constructing, or implicitly designating various experiences, emotions, and mental states,” Juhani Pallasmma explains. Regardless, architects are operating in the human brain and mind as much as in the world of matter and physical construction. I dare to make this statement as science has establishedthatenvironmentschangeourbrains,andthosechanges, inturn,alterourbehaviour. Architecture is seen not just from a fixed vantage point (the photographer’s eye), but also from a moving perspective (Cassar). The perception and experience of space primarily rely on the manner individual moves through it. Observing and experiencing architecture is done by moving around the spaces. Thus, the experience of the built form is obtained through the movement in various spaces.
Movement and architecture are complementary to one another. In order to perceive a building, movement is essential in its spatial structure. However, the perception or the image of it is conceived through movement. Movement can be categorized according to its position such as approaching, entering, being inside of, traversing, and circumambulating through the spaces. It is guided by architectural elements such as walls, floors, columns, roofs, fenestration, volume, axis, and much more. It can be accelerated or decreased or blocked by articulating the spaces or passages, creating a hindrance by a wall or sculptures. It is a sequential process and with every, another sequential frame, expectations, and mysteries are aroused to the user. With the physical movement of the user, visual movement is always linked with it. The moment from which one sets eyes on space or walks into it and explores its various zones, pauses, processes, and exits is an integral part of user experience. User experience is an integral part of the movement in the built space. This research study showcases various types of user movements and their part in creating the user experience. In this study, the built form is considered to be static and stationary but movement and experience are temporal in space.
Keywords: Architecture, Space, Movement, Elements, User.
Movement in Architecture
Architecture exists because of form and space and the perception of it depends on movement. Many architects have contributed their knowledge in studying movement. The concept of circulation became in architecture as its important component back in the late 19th century. Architects began to investigate not just the physical movement/flow through the structure, but also the felt physiological movement, after hearing this description of circulation. Both the concepts - metaphorical or functional - are linked to the experience of space and are linked with the idea of space. Modernist architects used various ways to represent movement in the architecture of the body and its surrounding movement. Le Corbusier's promenade architectural is the best example that represents the growing importance of movement in architecture in the 20th century. These elements help the body to link and engage with the other spaces. With the new advent of technologies, architects have created their buildings or their elements to move in a literal way.
Adam Hardy’s Theory of Movement
Architecture has the ability to express movement. Without actually moving it can convey or embody movement. Contained Movement refers to the depiction of building in motion, even if it is not physically moving. Represented Movement is classified into Movement of eye and mind, Projected bodily movement, Perceived forces, and Association. While the Represented Movements are classified into Sense of Transformation and Pictorial Representation. These aspects are further explained and classified in detail. The movement of people is seen in a building, lift and escalators going up and down, movement of sun and shade are some kind of regular things that happen. Movement is movement of eye/mind from one form or space to another. Hardy explains this in the following by taking many dynamic forms. Movement is also depicted through pictorial representation, which may be seen in paintings and sculptures. Mental movement is also represented through association, such as in Saarinen's TWA Kennedy Airport and Michelangelo's spiral stairwells.
Classification of Movement
From the ancient ages of architecture to these modern days, the movement has been represented in different ways. As for humans there always has been an urge of having public spaces that are interactable and more social. Movement can be classified into three types. These are the Contained, Represented, and Expressed movements.
1. Adam Hardy defines contained movement as one that involves eye and mental movement. When the imagination races up the stairs or follows imaginary penguins down slopes, this is referred to as contained movement. The Stele (sixth century AD) at Parel, near Mumbai, is an example.
2. Represented movement is visible whenever there is an indication or illusion that the building is moving. It's the illusion of building in motion. Modern Architecture consists of formal qualities that suggest that building is Moving. Traditional Hindu temples
represent movement in a variety of ways. Hardy depicted techniques of portraying movement in Indian temple building.
3. Expressed Movement is where there is a literal movement of a building or its structure. These kinds of built spaces are equipped with high-tech engineering. Some architecture has been intended to be as stunning as a work of art or a sculpture.
Movement – Relation
Architecture produces various sorts of movement in the constructed form. Movement of eye and mind is linked of the user when he/she explores or gazes inside the built space. Movement in the architecture with or without a user.
Types
• Built form and Space
1. Kineticism
2. Pictorial Representation
3. Movement of Natural Factors
• Spectator within the Built form
1. Visual Movement
2. Mental Movement
• Explorer within the Built space
1. Circulation
2. Sensational Movement
• Movement and Spatiality
1. Form
2. Orientation
3. Reference
4. Degree of accessibility
5. Layering
6. Light Movement and User Experience
Within this space, the body refers to all the senses simultaneously. One does not relate to a still image of the space, but we mentally construct a sequence of frames. The presence of light and the flux in the position of a body within the space are factors.
Perception, Sensation and Affect
Humans obtain Sensation from the physical world through sensory receptors that their bodies inhabit. The mind processes real-world information into electrical information which is further processed by the brain. The more we absorb the more we lose ourselves in it, the less we
separate ourselves from it, he says. The idea of love does not represent anything and is not represented by anything. Love does not. represent anything. The concept of affect is much more encompassing. It exists within an affection that modifies both the Body and the mind.
The object of Sensation, Perception and Affection
Conceptsofperceptionaretheobjectwearedirectlyawareofwhenperceiving.Externalstimuli that act on the body allowing it to perceive only a subjective view of reality. The body is an entity which is in transition and a constantly changing relationship with the environment. We do not have full knowledge of our body's capacity or its internal mechanisms. We are aware of its existence, but do not know its capacity. Having a physical presence, we can understand the naturalenvironmentand eventhebuiltenvironment. Itisourexpressionintheworld, thevisible form ofourintentions. Perceptionofspaceandcomponents varies whenone's locationin spacetime within
Time and Space
Architecture emancipates us from the embrace of the present and allows us to experience the slow, healing flow of time, writes Juhani Pallasmaa. The time of architecture is detained; in the greatest of buildings time stands firmly still, he writes. Architecture is the art of reconciliation between ourselves and the world, and this mediation takes place through the senses, writes Pallasmmaa in his book: The Eyes of the Skin: Architecture and the Senses.
Analytical Framework
Spatial Parameters:
Spatial Analysis of the building helps to understand the language of the spaces. In this thesis, the parameters for the spatial analysis taken are Spatial form, Spatial relationship, Sequence and nature of spaces, Movement pattern, and pause and focal points.
• Spatial form:
The interior structure and exterior contour of the building are developed through the form. Shape refers to the primary feature of form that defines its appearance. Form involves a sense of three-dimensional mass or volume. The experience through the perception is built up by the user from the spatial form.
• Movement pattern:
The movement patterns in the various buildings vary. It is determined by the purpose of the building as well as socio-cultural factors. The movement sequences are determined by the movement pattern. The path that constitutes the pattern is classified into the following:
1. Linear path – a straight path
2. Radial Path – linear paths extending from a common point
3. Spiral path – single and continuous path
4. Grid path
Parallel set of paths intersecting at regular intervals
5. Network – Path connecting established points in a space
6. Composite - a combination of two or more of the above-mentioned patterns.
• Sequence of spaces:
Layering is the spatial organization of architectural elements is a visible order in the act of movement. Spaces are organized according to functional needs, dimensional requirements, the hierarchy of spaces, need of access, view or light, surrounding context, and site conditions. This regulates the flow of movement. Francis D.K. Ching has classified the organization into five different types. They are as followed: Linear organization, Centralized Organization, Clustered Organization, Radial Organization, Grid Organization
• Nature of spaces and Pause point:
Moving through the built form there are certain points in the spaces where the user takes a pause. These pauses are generally at threshold spaces. Pause points also depend upon the nature of the spaces. The pause points will be different in public spaces, private spaces, and semi-public or semi-private spaces.
• Spatial relationships:
The spaces organized to form a building have a certain relationship with one another. Ching has classified this relationship into Space within a space, interlocking spaces, adjacent spaces, spaces linked by a common space.
Table of movement evaluation in architecture by Mosleh Ahmadi
Movement in Architecture is studied by Mosleh Ahmadi. He classified it into various types based on explorer and observer connections with the architectural form and space. Movement as a spectator in the built form is classified into visual movement and mental movement. The movement factors are classified into: The geometry of the form, Rhythm, Hierarchy, Depth, Axis, Enclosedness, Polarity, Psychologic factors, Sensational factors. The various factors and elements are responsible for the various movement types to occur to the user. This thesis is accustomed study the movement of the user in the Built space. It excludes the kinetic elements in the building and space, rather the spatial analysis of the building is done first and then movement is evaluated concerning the user as spectator and observer. The figure below represents the taxonomy given by him for evaluating movement in architecture.
Figure 01: Classification of Movement in Architecture
By Adam Hardy
By Mosleh Ahmadi
Case Study Analysis: 079 Stories
• Spatial Analysis
The form of this building is cuboidal in geometry. Various interactive and generous spaces flooded with light and full of ventilation are carved out by subtracting various rectangular volumes from the entire cuboid. The path is of human scale varying in volumes. A visual connection is developed by the architect with the amphitheatre from the first floor that accommodates gallery spaces. A bridge-like structure penetrates these closed gallery spaces. Relationship of Path and the built mass: The circulation path on the ground floor is entangled with a large chunk of mass such that it forms a 'Space within a space' kind of relation with it. The bridge penetrates the double-height space of the café. Hence the court has an adjacent relationship with each other while the circulation space is named as spaces linked by common space. Functional spaces are arranged around the circulation path. The first and foremost space is the entrance of the building. From here other functional space is distributed into the three directions other than the entrance. The building is a visual art centre and hence various art and performing art events take place. The user group at 079 will be Administrators, event organizers, artists/performers, visitors/viewers, photographers/media, and servants. Administrators' movement is seen in their office mostly during entire working hours. Visitors/Viewers/Photographers on the ground floor move in the open spaces, at the amphitheatre, and near the lily pond.
1. Approach: There are two ways to reach the 079 Stories Building. It is made by juxtaposing a landscape feature with three neem trees against a bare concrete wall of 2 meters in height. Red-coloured plaster is noticeable enough to draw the observer's attention. The bare concrete walls resemble the buildings of the brutalist styles and create a sensation of time passage. The form's horizontal linearity, subtractive character, intensified perspectives, axis, and continuity all contribute to this. The individual approaching the architectural form feels a sense of interest as a result of this transformation. It partially obscures while simultaneously revealing certain views of the interior rooms. The path to the entrance has been stretched by shifting its axis.
2. Entrance:
Walls around the entrance are arranged in an asymmetrical pattern. The little space between the entry walls on both sides allows the eye to roam freely. The user's imagination produces projected movement after catching a glance at the stairs. Meaning is added to the user's mind because of the movement factors like multiple perspectives of the stairs and the axis of the entrance. The individual imagines and projects the body movements along with the court while going around the entry and progressively unfolding the spaces with a point of interaction and frequent movement of the users. This polarity of spaces and also of the amount of natural light creates an aroused sensation to the user. The transitions from a semi-open space to an open to sky space creates a sensation of arousal for the user. The entrance is a recessed one. A trapezoidal block of 3 meter in height when subtracted creates the entry of the building.
3. Arrival at the Court:
The court is located in the heart of the building. The dark orange colour signifies dense places, the light orange colour depicts porous regions, and the white block depicts the court. Visually, the user moves horizontally as a spectator: As a body moving up and down on the first floor. The rhythm visible in the steps from a perspective view bears some similarities to that of the CEPT's. The colour combination in the area, the polarity of the area and the light in the court all add meaning to the mind. The court is built to last, as a body moves horizontally with the help of the built space, which is built on the back of the shoulders of the audience. The audience can feel the court's every nuance from the perspective of the eyes of the viewer. The judge can see the court from the point of view of a child, as the audience looks on in amazement and amazement at what is happening to the court during the play of light and sound. The building isdesignedtolastaslong astheviewer's eyescansee.Thelinearity,intense perspectivetowards the amphitheatre, axis and continuity with the built and unbuilt enhances the user to move horizontally. The tilling pattern and the texture on the concrete slab also contribute to the horizontal movement of the eye and body.
4. The Staircase:
Modernand elegant staircaseis in thecourtsituatedin thecentreofthebuiltform. Therhythmic pattern of the steps and the contrasting material used from the contextual spaces make them look extraordinary and eye-catching. The users moving on the staircase can interact with those on the path on the ground and first floor. This place is where a lot of internal interaction among the spaces takes place. The mind of the user can resemble the small cuboidal volume of projection in the Court. It resembles the jarukha of the old architectural style in a new way.
5. Path connecting the court and the Amphitheatre
A path that connects the two open areas of the building can be approached in three different ways. The walls constituting the path are placed in such a way that space broadens up towards the amphitheatre. A bridge has been built to connect the exhibition galleries and to have visual connections with the ground floor. A user moving across this path can sense the climate outside and can also sense the passage of time. The curvilinear form of the amphitheatre glimpsed from the path also attracts the user to move towards it. The bridge connecting the galleries at the first floor provides a projected bodily movement to the user. While moving, the change of spatial volume to a double-height semi-open space creates a sensation of a tendency.
6. Amphitheatre
Amphitheatre is a space where tales about the constructed form and space, landscape, event, people, and much more may be found. It has a concrete floor, layer of green grass, polished granite flooring in the portion of the steps of the amphitheatre and the lily pond. It also has a little pond that attracts the users to move around it. It is one of the major attractions in the existing building The circular amphitheatres sits near the little pond and has a view of the building's back elevation. The subtraction and weak boundaries attract the users and tend to movetheireyes vertically.Suchasubtraction is doneuniquelyandthus its meaning to theuser's mind. Theeyemoveshorizontally onthecurvilineargeometryoftheStepsoftheAmphitheatre.
7. Way to the Galleries
The path linking the first-level galleries is physically and aesthetically connected to the ground floor. The user's mind can also visualize a body moving up and down the stairs. The continuity of the path allows having a visual connection between the spaces to the user. The artist's mind fills up the gap created by the open boundaries and projection-subtraction of the built form. The link is made through the stairs and through a bridge that traverses the café's double heightened area.
Case Study Analysis: Mahatma Gandhi Labour Institute
• Spatial Analysis
Building is on repetition of the longitudinal double module at the top, because of that the spaces remain cools and have good room for air circulations. Various interactive and generous spaces flooded with natural light and full of ventilation are carved out by constructing double-height volumes and having wide openings. The path of circulation is an experiential walkway, one enters from the mezzanine floor and then is connected with a long linear corridor, behaving like arteries that connect to its functions. The functional spaces have an adjacent relationship with each other while the relationship of these functional spaces and the circulation space is named as spaces linked by common space. The building is of human scale varying in volumes. While connected with nature, north light emerges from the northern skylight. Movement Pattern and Pauses and Focal points. This building is in support of the government's aim of promoting harmonious industrial relations and social justice. The institute takes a broad view of labour and seeks to serve the cause of workers in all areas. Research, Training, Education, and Information Dissemination (through seminars, workshops, and colloquia) are the primary methods of action. Administrator’s movement is seen in their office mostly during entire working hours. Student's and professor's movement can be seen throughout the day. During some special events, a large number of people participate during the event there is interaction with each other.
