Thesis Book: Tempo + Order

PERCEPTION OF SPACE

TEMPO+ ORDER

AN

ARCHITECTURAL

THESIS

j

EXTERNAL

IDENTIFICATION DENSITY + DEPTH

D+D

LIGHT + MATERIAL

L+M

TEMPO + ORDER

T+O

SCALE + ENCLOSURE

S+E

TEMPO + ORDER Perception of space is influenced through the inherent rhythm of movement and pause, working in tandem with the underlying structured organization, to govern progression throughout the architecture and the manifested experiences.

Spatial tempo and hierarchical order inform the perception of space through their relationships to the physical form, the dominant connection determining directionality of inhabitation, and the compositional structure controlling physical progression.

The perception of spatial hierarchy evolves the relationship between space and form which can either coexist as equal influences, or can shift due to the dominant presence of formal mass and spatial void. Orientation of extended connectivity determines the governing dwelling axis, as well as, the subsequent physical reaction to spatial inhabitation. The order structuring the overall architecture enhances individual moments of movement and pause, to direct the progression throughout fluid space.

Both spatial tempo and compositional order impact the experience of individual spatial moments to direct physical progression throughout the architecture and the cadence at which it is perceived.

x

TEMPO + ORDER

FORM INFLUENCING SPACE p.2-29 CONNECTIVITY DEFINES TEMPO p. 30-51 ORDER STRUCTURES MOVEMENT p.52-73

No. 5 oMODEL PLATESNo.40-46

TEMPO + ORDER

FORM

INFLUENCING

SPACE

Architectural themes of form and space, assert mutual influences to define the overall perceived experience. When balanced, these two themes create a symbiotic existence, which manifests itself through a composition of formal elements to produce a fluid horizontal connection with extended habitations. Whenever one architectural theme becomes spatially dominant, a gravitational pull towards space or form is generated. The presence of governing elements, such as mass or void, dictates a vertical experienced connection and links the individual to the infinite bounds of space.

PROPORTIONS

DEFINE

SPACE

FORM

TEMPO + ORDER

INFLUENCING

3

SPACE

No. 3 oMODEL PLATES No . 7-9

The individual’s experience is influenced through the relationship between architectural form and space. The void of form highlights the edge and enables the introduction of light to connect the interior space to the surrounding exterior. The relationship between form and space enables the perception of spatial hierarchy, as exemplified by the dominant edge.

TEMPO + ORDER

FORM

INFLUENCING

SPACE

FORM

TEMPO + ORDER

INFLUENCING

5

SPACE

The hierarchy of architectural form directly influences the perception and subsequent experience of space.

Form, constructed by arrangement of individual elements, exerts a similar compositional organization on defined spatial boundaries.

Offsetting, overlapping and staggered connections of architectural form enable an uninterrupted presence of space to exist alongside the physical form. Resultant, intermediate spaces transition between moments of heightened architectural experience and perceived extended spatial boundaries.

The oblique drawing is a composite of individual panels and the subsequent refined spaces. The degree of definition influences both the built form and the constructed space, equally, to determine their overall shared existence. The offsetting panels transition levels of spatial definition and unify architectural understanding.

PLATENo.21

6

TEMPO + ORDER

FORM

INFLUENCING

SPACE

PLATENo.37

In both the physical and conceptual explorations, the architectural constructs of form and space define a codependent relationship.

This connection between the built form and the constructed space enables the simultaneous influence of architectural experience through the presence of physical form and the perception of related space.

TEMPO + ORDER

7

FORM FORM INFLUENCING INFLUENCING SPACE SPACE

Architectural form, constructed as an organizational composition of offset panels, removes defined spatial boundaries and allows space and form to coexist as one fluid understanding. The built form defines movement within spatial boundaries as well as hierarchy of individual spaces within the architecture.

Form and space retain equal roles in the development of architectural experience and the transition of continuous spatial understanding.

how does

composition of

elements enable

perceived coexistence

of space and form ?

No. 4 oMODEL PLATESNo.13-18

8

TEMPO + ORDER

FORM FORM INFLUENCING INFLUENCING SPACE SPACE

No. 4 oMODEL PLATESNo.13-18

FLUIDITY OF SPACE D+D p. 6-9 L+M p. 6-7

TEMPO TEMPO + + ORDER ORDER

9

FORM INFLUENCING SPACE

PLATENo.23

The fluidity of perceived spatial boundaries is achieved by overlapping and offsetting architectural forms. In both section and spatial models, the individual inhabits, simultaneously, multiple levels of space enhancing the understanding of the defined architecture. Within the framed experiences, the architectural space, composed of formal elements, expands parallel to the physical extension of mass.

The physical offset of panels creates spatial boundaries that extend beyond the individual spaces and defines a fluid existence within architectural space. Harsh edges, removed from the construction of adjoining forms, diminish perceived containment and heighten the continuous spatial experience.

The composition of staggered, individual elements layer opportunities for implied connections across space to further enhance this experiential continuity.

10

TEMPO + ORDER

FORM

INFLUENCING

SPACE

Offsetting elemental forms creates a fluid understanding within the defined architectural experience and manifests indeterminate spatial boundaries. Intermediate spaces, formed between overlapping panels, expand perception of spatial limitations and seamlessly transition through gradating levels of extended inhabitation.

These moments of steady transition balance distinct spatial experiences to produce a unified progression of architectural experiences.

PLATENo.23

TRANSITION OF SPACE D+D p.14-15 S+E p.36-43 p.54-55

Within the above spatial section, moments of intermediate spaces, originating from the overlapping of forms or from the transition between spatial experiences, allow the shift in spatial progression and unify the overarching experience. These moments exhibit a gradual decline in spatial activation to balance the dominance of distinct spatial experiences and direct the focus outward to future spaces. Similarly, the landing space within the physical model, enables a sedentary spatial occupation to transition from that previously experienced to one dwelling in future space.

FORM

TEMPO + ORDER

INFLUENCING

SPACE

No. 5 oMODEL PLATESNo.40-46

No. 2 oMODEL PLATES No . 4-5

OPEN v.

CLOSED SPACE D+D p.26-29 L+M p.57-58 T+O p.22-23 S+E p.26-43

how can

physical

presence of mass hierarchy

define a of contained space ?

Each architectural element exhibits a range of influence over its own surrounding space that is determined based upon the forms dominance within the spatial hierarchy. The dominance of an element can be enhanced proportionate to its physical mass and its perception of weight applied to influenced space. Elements of mass dominate the spatial hierarchy and establish a confined vertical connection within the space as well as one that extends to the infinite exterior.

PLATENo.33

On the opposite page, the physical mass of the curved overhead plane, while never visible, emits a perceived weight that grounds the interior space.

The slight aperture bordering the overhead plane directly contrasts the sheer mass. In the above section, the adjustment of ground plane enables the physical weight of the ground and the implied weight of the stacked spaces to anchor lower spaces, while simultaneously highlighting the defined vertical axis.

No. 5 oMODEL PLATESNo.40-46

A spatial hierarchy, based on mass as a formal element, establishes a dominant gravitational pull. An element’s experiential weight can be either visibly established or spatially perceived. The space that exists below a massive overhead plane becomes imbued with the same weighted dominance. This defined space remains visually contained, yet maintains a hierarchical dominance over surrounding spaces through gravitational pull and governing experience.

PLATENo.12

In the exploded axon drawing, the interior space is further defined to explore distinct levels of inhabited space. The innermost space, while the most contained, maintains a hierarchical dominance over adjoining spaces through the perceived weight of space that emanates from the surrounding layers of mass. Similarly, in the model, the contained space exerts a spatial dominance over the extended surrounding through the perceived weight of the overhead plane.

No. 3 oMODEL PLATES No . 7-9

INTERIOR/ EXTERIOR CONNECTION D+D p.20-21 L+M p. 4-5 T+O p.26-27

The dominance of the mass element and the perceived weighted spatial experience establish a connection between the occupied floor and overhead plane. This heightened vertical awareness implies a similar connection, formed beyond experienced space, between the opposite face of the massive element and the exterior space. Mass generates a strong vertical axis that overcomes visual containment and extends connections with the infinite spaces above.

PLATENo.48

The closed spaces establish a vertical connection with perceived exterior space based on the weight of overhead mass and subsequent space containment.

Within the above section, the established vertical axis is enhanced by the juxtaposition of entering light, and remains dominant throughout the progression of the day due to the influence of the massive form.

Similarly, light influencing the contained space, within the spatial model, highlights the offset of elements and physical depth of form.

PLATE No. 6

Definition of the vertical axis is heightened from a perceived dominance of individual spatial experiences and bordering elements. Mass and void, as spatial elements, determine and influence the experience of spatial boundaries. These architectural themes generate an elevated experience in which perceived space can extend infinitely in the absence of limiting and inferior architectural form.

PLATE No. 3

The experiential qualities and the overall presence of space is the dominating force in the analytical watercolors; the architectural form that shapes and contains the experienced space is of lesser significance. The combination of perceived limitless expansion of space and physical absence of architectural form define boundaries of experienced space.

No. 1 oMODEL PLATES No . 1-2

OPEN v.

CLOSED SPACE D+D p.26-29 L+M p.57-58 T+O p.14-15 S+E p.26-43

can

absence of mass generate a similarly

dominant space ?

Architectural void generates an experienced spatial release similar to the perceived weight that mass asserts on its surrounding space. Absence of physical form defines spatial experience dominance by framing views and visual connections that link adjoining spaces. This visual relationship enhances the defined vertical connection created through the abrupt shift in perceived containment and gravitational extension of space.

PLATENo.26

The pyramid void, piercing the interior space, creates a central gravitational pull that anticipates the moment of spatial release. Similarly, the section explores layering of voids that connect individual spaces with perceived exterior and adjoining architectural experiences.

No. 4 oMODEL PLATESNo.13-18

The absence of architectural form imposes dominance within the established spatial hierarchy and produces an experienced gravitational pull similar to that exerted by an element of mass on its influenced spatial boundary. By framing existing visual connections and elevating perceived inhabitation, the dominant architectural element enhances the spatial experience.

PLATENo.47

The void elevates surrounding space because of enhanced visual connections between spaces. In the above section, the architecture requires the individual to physically occupy the base of the staircase in order to completely experience the spatial void and inhabit connected exterior space. Within the opposite physical moment, the placement of the void, along the edge, creates a spatial hierarchy along that connection and keeps the individual physically anchored to the wall element.

No. 5 oMODEL PLATESNo.40-46

The element of void generates a vertical connection that links the occupied ground plane with the infinite existence found in exterior space. The addition of a visual connection to the experienced space strengthens the vertical axis.

Progressing towards the axis, a moment of spatial release is experienced when the surrounding physical containment slips away to reveal the framed infinite space.

INTERIOR/ EXTERIOR CONNECTION D+D p.20-21 L+M p. 4-5 T+O p.18-19

The iterative spatial sections above examine variations of the architectural void to maintain a clear vertical connection to the exterior, while shifting the interior’s relationship with the connected exterior. Within the model, the individual experiences the spatial release brought about through the direct vertical connection that spans between spaces.

TEMPO + ORDER CONNECTIVITY

DEFINES

TEMPO

The dominant connection, either vertical or horizontal, focuses the directionality of spatial boundaries and forms a unified gravitational pull of space. This connection engages the limits of spatial experience to exist outside physically occupied space and to dwell within an extension of space. With a dominant horizontal axis, the opportunity for expanded inhabitation exists with a connection to future space that generates physical movement. Dwelling also occurs with the vertical axis, where the connection is expanded to the infinite bounds of exterior space, and creates an experiential pause that holds the individual within defined space.

CONNECTIVITY

DEFINES

TEMPO

TEMPO + ORDER

CONNECTIVITY

DEFINES

31

TEMPO

No. 4 oMODEL PLATESNo.13-18

Enhancement of spatial tempos results through the direct and visual comparison of contrasting experiences. On the flat platform, the large wall grounds and holds the space in a relaxed constant measure. This slow paced tempo is directly compared to the quick movement experienced with the sloped floor. These two experiences are heightened through their spatial proximity and subsequent interaction.

TEMPO + ORDER CONNECTIVITY

DEFINES

TEMPO

The individual, horizontal connections, established through the compositional offsetting and overlapping of architectural form, layer to structure an overarching horizontal connectivity of spatial understanding. This horizontal, directional focus connects distinct spaces together, building upon the organizational structure’s inherent fluidity, to create a continuous progression throughout the architectural experience.

TEMPO + ORDER

CONNECTIVITY

DEFINES

TEMPO

PLATENo.49

Within the section, the individual spatial components share a common horizontal directionality that parallels the intended movement throughout the architecture. Through the organizational offset of individual panels, the removal of harsh spatial boundaries enables the continuous flow of both movement and architectural experience.

34

TEMPO + ORDER CONNECTIVITY

DEFINES

TEMPO

Once the dominant horizontal connection is established, the interactions of individual spatial moments enhance the overall perception of the axis. Each individual space maintains a singular spatial tempo determined through its unique composition of architectural form and space. The direct interaction of these spatial tempos engages horizontal connectivity and either unifies to form a transitioned architectural progression or separates each to elevate individual experience.

No. 4 oMODEL PLATESNo.13-18

The architectural experiences, on the left page, exhibit slower spatial tempos stemming from the direct visual comparisons with the fast paced spatial tempos experienced through the architectural openings. This contrast of architectural tempos enhances each individual experience and slows down the perceived spatial movement within the occupied space.

TEMPO + ORDER

CONNECTIVITY

DEFINES

35

TEMPO

In the architectural experiences on the right, the exaggerated perspective of the containing walls, the sloped floor, and contrast of the stagnant wall of pipes generate an increase in the overall spatial tempo. This architectural space has a clear direction of movement and an inherent spatial tempo that creates a gravitational pull urging the individual through the progression of space.

TEMPO + ORDER CONNECTIVITY

No. 4 oMODEL PLATESNo.13-18

DEFINES

TEMPO

TEMPO + ORDER

CONNECTIVITY

DEFINES

37

TEMPO

Visual connections established by the horizontal axis enable the individual’s experience of spatial boundaries to expand beyond occupied space and to dwell within future architectural space. This extended inhabitation allows the individual to experience degrees of architectural space prior to actual sequential progression. This insight into future experienced spaces enables the individual to inhabit, to some degree, that transitory space while physically occupying another space. Anticipation of that future space builds until the moment culminates where physical occupation and perceived inhabitation coexist once again.

In both the physical model and the perspective analysis, the architectural composition of offset elements enables the individual to view partially revealed spaces, to extend experiential perception of spatial boundaries, and to dwell within that connected space. These connected spaces are parallel to current occupied space and maintain the opportunity for future physical occupation.

PLATENo.19

38

TEMPO + ORDER

CONNECTIVITY CONNECTIVITY DEFINES DEFINES TEMPO TEMPO

how does

extended produce a

dwelling in

future space

physical movement?

Expansion of inhabited space, combined with heightened horizontal connection, create a physical movement through the architectural space.

Dwelling within future progressions of architectural space reaffirms horizontal connections and engages the individual to physically occupy space, which is momentarily experienced, but not yet occupied. Gravitational pull, resulting from the physical composition of architectural elements, overlays existing extended inhabitation to amplify perceived spatial tempo until physical movement is finally manifested.

The definition of horizontal axis, the engagement of extended inhabitation, and the inherent spatial tempo combine to create a physical movement by the individual. Within the image, the light heightens the perception of the horizontal connection and invites the individual to dwell within future space; the combination of contained wall elements and sloped floor amplify this spatial tempo.

TEMPO + ORDER

CONNECTIVITY

DEFINES

TEMPO

No. 4 oMODEL PLATESNo.13-18

GRAVITATIONAL PULLFORWARD D+D p.44-47 L+M p.21-22

TEMPO + ORDER

FORM

INFLUENCING

SPACE

FORM

TEMPO + ORDER

INFLUENCING

SPACE

The experienced vertical continuity of architectural space is driven by visual connections established between the perceived, limitless extension of contained space and the boundless exterior. This dominant vertical axis slows spatial tempo to allow the individual to experience expanded perception of space and to inhabit beyond physically occupied space.

PLATENo.48

Within the rendered section, the extension of space is experienced through the perceived, limitless space of the shadowed depths and through the visual connection to the exterior space. These individual moments of vertical expansion are layered to enhance the overall experience and to elevate the overall understanding.

The perceived vertical axis can be established through the creation of spatial connections that imply continued space.

Just as experiential inhabitation encompasses surrounding spatial boundaries to drive degrees of extended space, spatial connections exist, at varying hierarchical levels, to engage perception of dominant axis and subsequent spatial experience.

Through entering light and dominant mass, gravitational spatial pull generates an extended connection with exterior space to informthe continued existence of fluid space. This connection defines the vertical axis, further highlighting the entry of light and the experienced contrast of contained space adjacent to the perceived infinite exterior.

No. 5 oMODEL PLATESNo.40-46

Connections between occupied spaces and perceived, limitless space establish an upward gravitational pull to dwell within unattainable space. The spatial anchoring of the ground plane and the experiential elevation of entering light enhances the presence of this vertical axis. The extension of the axis exerts dominance on the surrounding experience and establishes a moment of spatial hierarchy similar to that generated from the elements of mass and void.

PLATENo.22 PLATENo.30

In both the conceptual diagrams and the model, the directionality of light and presence of mass heighten the perceived vertical connection. The light filters down through the layering of spaces to orient the individual space and to continually focus the vertical axis. Similarly, the perceived weight of the occupied ground plane and the directed experience through the massive vertical retention panels combine to create a constant ground experience beyond which the individual can experientially extend.

No. 1 oMODEL PLATES No . 1-2

The combination of upward gravitational pull and vertical continuity enables the individual to experience beyond physically occupied space and dwell within the infinite expansions of spatial boundaries. This experiential shift enables the simultaneous occupation of the grounded containment of architecture and the inhabitation of inaccessible reaches of exterior space. This duality of experience creates an upward expansion of spatial boundaries and defines the perimeter limits of influenced space.

PLATENo.19

Within both the modeled architectural experience, on the opposite page, and the analytical perspective, on this page, the perceived spatial boundaries are extended and the individual dwells within that expansion of architectural space. This metaphysical dwelling enables the individual to experience space that is otherwise unoccupiable. The physical model enables the individual to occupy the dark, contained lower space, while perceptively dwelling within the above, illuminated spatial boundaries.

how can

vertical continuity No. 4 oMODEL PLATESNo.13-18

GRAVITATIONAL PULL UPWARD D+D p.50-53 L+M p.23-24

and

expanded inhabitation of infinite boundaries

impact

experienced spatial tempo ?

Dwelling within this infinite expanse of space, above, generates a defined moment in which spatial tempo stops. The containing architecture presents a singular experiential space where the individual simply exists, but yet the experience seems to extend outward in an attempt to inhabit inaccessible expanses of space. This constructed moment of architectural pause holds the individual captive to allow for the dual experiences of architectural space.

The individual moments of pause create a distinct horizontal spatial boundary to enhance the vertical extension of perceived space. The dominating mass elements ground the individual’s physically occupied space and balance the uplifting of experiential inhabited space.

TEMPO + ORDER

FORM

INFLUENCING

SPACE

FORM

TEMPO + ORDER

INFLUENCING

SPACE

TEMPO + ORDER

ORDER

STRUCTURES

MOVEMENT

Order structures the perceived architectural boundaries and governs the subsequent spatial tempo. The organization of architectural spaces must balance the linear sequence of space and the organic sprawling of experience; the equilibrium is explored through the dual constraints of a structured grid network and directional angled panels.

The combination of these ordering forces generates a spatial distinction, originating from the arrangement of physical forms, which parallels the experiential distinction found in the movement within spatial boundaries. Degrees of spatial hierarchy are achieved through architectural tempo and resultant movement of the individual.

ORDER

STRUCTURES

MOVEMENT

ORDER

TEMPO + ORDER

STRUCTURES

53

MOVEMENT

No. 5 oMODEL PLATESNo.40-46

The order of a strict gridded network, overlaid with angled exceptions, creates dynamic interactions within fluid spatial boundaries, and structures the individual dominant spaces with hierarchy. Within the spatial experience above, the perpendicular elements establish the base for perceived spatial boundaries, but it is the spatially dominant angled panel that drives the hierarchy of experienced space.

TEMPO + ORDER

ORDER

No. 5 oMODEL PLATESNo.40-46

STRUCTURES

MOVEMENT

ORDER

TEMPO + ORDER

STRUCTURES

55

MOVEMENT

The natural progression of an architectural space in a linear sequence enables the composition of architectural experiences to be carefully crafted, ranging from individual moments of spatial transition to holistic understanding.

Horizontal movement, inherently a linear development of spatial experiences, relies upon interwoven visual connections between spaces to differentiate each individual experience and to layer degrees of indirect architectural inhabitation.

The section drawing shows the sequential progression of architectural experiences as well as the physical movement that spans them. Linear sequences of architectural space generate a strong horizontal and vertical connection through the abundance of visual connections. Driving this focus too much into future space, however, causes connections to begin to lose those unique individual experiential distinctions found within each space. On the opposite page, the architectural experience establishes a visual connection with the following space and creates a fluid transition through degrees of extended inhabitation.

SEQUENCEOF EXPERIENCES L+M p.42-43 p.55-60 T+O p.64-67 S+E p.32-33

56

TEMPO + ORDER

ORDER

STRUCTURES

MOVEMENT

how does the grid organization balance the influence of to maintain

individual elements

continuous horizontal connections ?

Controlling the linear sequence of architectural spaces and required views to adjacent spaces, the structured grid governs the arrangement of the individual offset panels. The perceived openings, formed through shifting each element in combination with the rigid gridded intersection of forms, generate a heightened horizontal awareness that progresses parallel to the individual’s direction of movement and perpendicular to its counterpart.

The structured grid organizes the progression of architectural spaces and enhances existing horizontal connections through the interactions of form. In the section diagram, the gridded structure enables the justified alignment of architectural forms to heighten the perceived connection between individual elements.

Within the series of fragmented drawings, on the opposite page, the governing network defines the individual spatial boundary while highlighting gaps in space that connect throughout the architectural progression.

ORDER

TEMPO + ORDER

STRUCTURES

MOVEMENT

PLATENo.29

TEMPO + ORDER

ORDER

STRUCTURES

MOVEMENT

The grid’s inherent structure establishes an elevated focus on connection moments between spaces over the individual physical elements, and as a result, creates a fluidity of architectural experiences throughout the defined space.

This fluid connection generates a perceived spatial equality that unifies each individual space under one holistic architectural understanding.

Within the plan, the perceived connections of distinct spaces and the fluid transitions between spaces create a cohesive architectural experience. The structured grid governs the physical movement throughout the defined space and links the individual to a shared order of space.

TEMPO + ORDER TEMPO + ORDER

59

ORDER STRUCTURES STRUCTURES MOVEMENT MOVEMENT ORDER

PLATENo.51

CONNECTION OF SPACE D+D p.2-21 L+M p.19-20 T+O p.70-71 S+E p.28-29

60

TEMPO + ORDER

ORDER

STRUCTURES

MOVEMENT

The duality of spatial hierarchy stems from the fluid equality of architectural understanding and the degree of spatial dominance that originates from each individual space’s singular architectural tempo. To engage the individual within dynamic spatial experiences, the architecture must balance complex spaces of heightened movement with slower moments of transitional movement. The sequential progression of architectural spaces allows direct comparison of this range of experienced spatial tempos which heighten each distinct experience.

PLATENo.30

These moments of architectural definition each retain a distinct composition of spatial tempo. The far left moment exhibits a strong perceived movement formed through the combination of defined horizontal connection with an implied vertical connection through the directionality of light. This implied connection creates a gravitational pull of space that parallels the intended horizontal connection to manifest a physical movement and an understood quick spatial tempo. On the opposite end of the spectrum, the far right moment experiences a slow wandering movement. Within the defined space, there is an equal gravitational pull upward from strong vertical connections opposing the horizontal movement to occupy on either side of the mass protruding from the overhead plane. This space balances horizontal and vertical stimuli to transition the individual to anticipated moments of pause.

ORDER

TEMPO + ORDER

STRUCTURES

61

MOVEMENT

PLATENo.34

TEMPO + ORDER

ORDER

STRUCTURES

MOVEMENT

ORDER

TEMPO + ORDER

STRUCTURES

MOVEMENT

PLATENo.28

Constructing spatial boundaries that produce a continuous organic flow of architectural experiences requires a similar composition of interwoven architectural forms. These organic arrangements of connected space create a nonlinear architecture that evolves and transitions as the individual’s spatial choices generate infinite sequences of architectural experiences.

No. 4 oMODEL PLATESNo.13-18

The compositional arrangement of elements, in both the above physical model and the adjacent spatial plans, explore the necessary freedom with the sequencing and loose definition of spatial boundaries to achieve an organic understanding of architectural progression. Both explorations determine a nonlinear movement throughout the architecture, thereby allowing spontaneity within the sequence of spatial experiences and degrees of perceived inhabitation from numerous directionalities.

SEQUENCEOF EXPERIENCES L+M p.42-43 p.55-60 T+O p.54-55 S+E p.32-33

Within organic compositions of architectural space, the visual connections between adjacent spaces layer degrees of extended inhabitation to the spatial experience, but diverge from the individual’s physical movement and progression through architecture. The combination of these linear visual connections and the unrestricted organic flow of architectural movement enable the individual to experience an ever-changing architectural space.

PLATENo.22 PLATENo.24

The section utilizes a structured grid to offset and overlap individual elements, thereby defining a density of architectural spatial interactions. In the plan, the organic composition of space is considered allowing the individual to experience space in an unrestricted progression. The combination of these two spatial orders enables a dynamic architectural experience and a fluid understanding of spatial boundaries.

While the structured grid organizes the overarching architectural progression and remains a constant element that anchors the individual’s experience, the introduction of the angled panel disrupts this natural order and asserts a dominance within the spatial order and creates a momentary release of space. The architectural contrast, created by the interaction of the rigid grid with the angled elements, enhances the presence of both spatial orders.

PLATENo.39

The spatial order is determined through a combination of rigid grid elements interacting with dominant angled panels. These angled panels break up the homogeneity of existing structural elements to create a dynamic flow of spatial boundaries. The individual angled panels dominate their surrounding space to govern the physical movement, the perception of architectural boundaries, and the experience of spatial tempo.

PLATENo.51

The position and spatial hierarchy of individual moments of pause dictate the placement of the angled panels. The radial directionality of the angled panels extends the perceived influence, exerted by these spatial moments over the connected experience, to the surrounding overall understanding. The contrast, the angled panels impose, disrupts the homogeneity of the surrounding gridded structure and generates an implied connection back to the moment of pause. In this way, throughout the architecture, the inhabitation of those moments of pause can be experienced at varying degrees.

No. 4 oMODEL PLATESNo.13-18

does introduction of

angled elements

affect spatial perception of

CONNECTION OF SPACE D+D p.2-21 L+M p.19-20

extended origin ?

at what point can the individual

experience the origin’s moment of pause ?

In the fragment of plan drawing on the left page, the moment of pause, defined through the intersection of angled panels, creates a dominant boundary of space and impacts the surrounding spatial definition.

The experience above, from the vantage point of that defined moment of pause, emphasizes heightened visual connections focused directionally through those angled elements.

T+O p.58-59 S+E p.28-29

PLATENo.50

Due to the dominant presence and extended influence produced by the angled elements, moments of pause are imbued with an inherent spatial hierarchy that governs surrounding architectural spaces. Within these moments, the individual is jolted from the homogeneity of the fluid architectural existence to experience a vertical connection with the perceived limitless bounds of space and to dwell within an unachievable realm of space.

PLATENo.50

Both moments of pause exert an influence over the surrounding space and engage the individual with infinite depths of vertical space. These two moments define their occupied spatial boundaries differently, yet both maintain the same expansion of vertical space within which the individual experientially dwells.

MODEL No. 5

PLATESNo.40-46

The progression throughout the landing and staircases defines a regulated tempo of movement and is paralleled in architectural rhythm by offset elements. While mainly comprised of moments of intense physical movement, the landings generate a gradual decline in spatial tempo and allow for temporary moments of reprise from the fluctuating spatial conditions.

how can

experienced tempo and

ordered progression impact the perception of architectural space?

The combination of experienced, spatial tempo and underlying, compositional order govern the progression of architecture and the perception of each defined space through the orientation of extended dwelling and subsequent physical response.

The organization of individual elements enables space and form to maintain a balance of architectural presence and therefore defines the experience in terms of the coexistence of both themes. Both physical mass and expansive voids create inequality in this balanced presence and result in the definition of dominant spatial perceptions. The directionality of extended spatial inhabitation impacts the perceived definition of boundaries and the resultant physical movement. With the extended axis horizontal, dwelling expands to encompass future anticipated experiences and parallels gravitational pull that creates a physical movement. Alternatively, the vertical axis expands the experience to include the exterior overhead, which does not allow physical occupation, but instead creates a momentary pause within the overall space.

Combining the grid organization and the angled elements create a balance between the connections of individual, adjacent spaces and the implied extensions along the angle to perceive the origin.

Progression of space is informed through the interaction of spatial tempo and structuring order, to regulate the sequence of individual experiences and the overall spatial perception.

Evident by my early work and exposure to the design field, it makes perfect sense that I would end up discovering one of my passions within this engaging lifestyle of architectural exploration. This culminating thesis work and, ultimately, this creative lifestyle would not have been possible without the constant support from my family, the late night advice from colleagues, and the endless questions from Paola, proposed at just the right moment, to enable me to challenge my own work.

Thank you to all who have encouraged and supported me through this trying thesis year and throughout my architectural education. I dedicate this thesis book to those instrumental people who have enabled me to become the creative individual I am today.