M. Arch thesis by Steven Canara

PHENOMENON OF KINESTHETIC PERCEPTION IN ARCHITECTURAL SPACES

Steven Canara Master of Architecture May, 2018

Phenomenon of kinesthetic perception in architectural spaces

Steven Canara Guided by Mrs. Purvi Bhatt

Master of Architecture Faculty of Architecture

May, 2018

This thesis is dedicated to my parents who have encouraged me and supported me all throughout my academic carrier.

UNDERTAKING

I, Steven Canara, the author of the thesis titled Phenomenon of kinesthetic perception

in architectural spaces, hereby declare that this is an independent work of mine, carried out towards partial fulfilment of the requirements for the award of Masters of Architecture

degree at the Faculty of Architecture, CEPT University, Ahmedabad. This work has not been submitted to any other institution for the award of any degree/diploma.

Steven Canara PA104816 Date:10th May, 2018 Place: Ahmedabad

Disclaimer This document describes work undertaken as part of the M.Arch degree at the Faculty of Architecture, CEPT University. All views and opinions expressed therein remain the sole responsibility of the author, and do not necessarily represent those of CEPT University, the Thesis Guide(s), or the Thesis Committee.

Abstract The thesis starts with an outline of the subject of study. Thereby, the terminologies and literature pertaining to the subject are studied so as to formulate a framework for analysing the selected buildings. The main purpose of this thesis is to find out the factors which shape the kinesthetic perception of a person in an architectural space. Hence, all efforts have been made to achieve the same. As this task demands a holistic study of the movement of a person through a person through a built space, hence each building is analysed frame by frame. Thereby, from there, it goes on to highlight the common factors amidst three different case studies which are responsible for a personâ&#x20AC;&#x2122;s movement pattern; how they are drawn towards or diverted from or walk through a particular space. Through this study, the common factors pertaining to kinesthetic perception amidst the three buildings are highlighted and elaborated upon. From this, the areas in which these factors can be applied, so as to achieve a good kinesthetic experience is portrayed.

Abstract

Acknowledgements

Acknowledgements I thank the almighty for helping me overcome this challenge and overturning situations, without whose help it was impossible for me to do so. I am extremely thankful to my guide, Professor Purvi Bhatt for believing in me and helping me to pursue this topic. It is only due to your valuable inputs and guidance that I have been able to complete my thesis successfully. If it would not have been for your perseverance, I would have gotten stuck in the latter part of the semester. I would also like to express my heartfelt gratitude to Professor Yatin Pandya who has been my guide in need. Thank you so much sir, for those critical discussions and for your pertinent guidance through the course of my thesis. I want to thank all the teachers of C.E.P.T. University who have helped me to widen my horizon and strive to go one step further. A big thank you to all my class mates and my seniors for those short but worthwhile conversations and experiences! Last but not the least, thankyou mummy and papa for your invaluable support across all the phases of my life and bearing with me until now. I also thank all my family and relatives for upholding me in their prayers.

Acknowledgements

iii

Contents

Abstract..................................................................................................................i Acknowledgement........... ......................................................................................iii Contents ................................................................................................................v List of ďŹ gures .......................................................................................................viii 1.0

INTRODUCTION TO THE TOPIC

1.1.1 - Introduction.................................................................................................04 1.1.2 - Premises & Subjectivity statement...................................................................06 1.1.3 - Structure of the study..................................................................................... 07 1.1.4 - Terminologies associated with movement and perception 1.1.4.1 - Kinesthetics...............................................................................................09 1.1.4.2 - Perception.................................................................................................10 1.1.4.3 - Types of perception.....................................................................................11 1.1.4.4 - Kinesthetic perception................................................................................ 12 2.0 ANALYTICAL FRAMEWORK: 2.1.1 - Literature studies (research papers & books).................................................... 15 2.1.2 - Theories ..................................................................................................... 17 2.1.3 - Synthesis of Literature studies ....................................................................... 19 2.1.4 - Framework for analysis ................................................................................. 20 2.1.5 - Elaboration of the analytical framework 2.1.5.1 - Decoding the path of movement....................................................................21 2.1.5.2 - Decoding the spatial frames......................................................................... 25 3.0

CASE-STUDIES

Contents

3.1.5 - Decoding the spatial frames

4.1.1.6 - Scalar sequence .........................................................................................159

3.1.5.1 - Path A...................................................................................................... 43

4.1.1.7 - Approach towards symmetry & continuation ................................................. 160

3.1.5.2 - Path B...................................................................................................... 52

4.1.1.8 - Approach towards natural light..................................................................... 161

3.1.5.3 - Path C...................................................................................................... 61

4.2.1 - Learnings from the study

3.1.6 - Emergent experiences................................................................................... 67

4.2.1.1 - Articulation of the spatial organization.......................................................... 163

3.2.1 - Gandhi Labor Institute............................................................................... 68

4.2.1.2 - Articulation of the pause pints & focal points.................................................. 164

3.2.2 - Decoding the path of movement

4.2.1.3 - Articulation of the spatial frames.................................................................. 165

3.2.2.1 - Movement pattern...................................................................................... 70

4.2.1.4 - Articulation of the Spatial elements............................................................... 166

3.2.2.2 - Sequence of spaces..................................................................................... 72

4.2.1.5 - Approach towards the Gestalt principles........................................................ 167

3.2.3 - Decoding the spatial frames

4.2.1.6 -Approach towards the organizational elements(scale) ..................................... 168

3.2.3.1 - Path A...................................................................................................... 76

4.2.1.7 - Articulation of the natural elements............................................................... 169

3.2.3.2 - Path B...................................................................................................... 83

4.3.1 - Concluding note......................................................................................... 170

3.2.3.3 - Path C...................................................................................................... 88

4.3.2 - References ..............................................................................................

171

3.2.3.4 - Path D...................................................................................................... 91 3.2.3.5 - Path E...................................................................................................... 96 3.2.3.6 - Path F...................................................................................................... 103 3.2.4 - Emergent experiences................................................................................... 109 3.3.1 - C.E.E..........................................................................................................111 3.3.2 - Decoding the path of movement 3.3.2.1 - Movement pattern...................................................................................... 113 3.3.2.2 - Sequence of spaces..................................................................................... 115 3.3.3 - Decoding the spatial frames 3.3.3.1 - Path A...................................................................................................... 119 3.3.3.2 - Path B1.................................................................................................... 127 3.3.3.3 - Path B2.................................................................................................... 129 3.3.3.4 - Path C...................................................................................................... 139 3.3.4 - Emergent experiences................................................................................... 145 4.0

CONCLUSION

Contents

vii

List of ﬁgures

Fig. 1.1.1

To comprehend architecture, one needs to move through its spaces. After all thatâ&#x20AC;&#x2122;s how we all experience buildings, inside and outside: we walk, we look, we pass through space. Perspectives are revealed. Corners turn. Scale changes. The depth dimension is revealed. Details can be explored. - Murray Grigor

Phenomenon of kinesthetic perception

xii

1.0

INTRODUCTION

Phenomenon of kinesthetic perception

1.1

INTRODUCTION :

Built spaces have the potential to shape the lives of individuals inhabiting those spaces for better or worse. They have the ability to shape the perception of the user. This can be achieved by choreographing each space in a building, so as to offer different experiences to a person while moving through those spaces. “Architecture exists, like cinema, in the dimension of time and movement” - Jean Nouvel. When we move through a built space, we perceive every visual frame and interpret it in relation to the adjacent frame. At the same time, while moving through a space, we do not merely see them but even our tactile, aural and olfactory are also involved in the interpretation process of the space. They unconsciously drive our front ward movement and our involuntary pauses. Even though the phenomenon of movement in a building is ephemeral, yet it is very crucial towards influencing the imageabiltity of the building . As we move through a building, we see the building unravel its different parts . These are not mere static imageries, but are a multi-layered ensemble of different elements. Hence, in order to address the factor of kinesthetic perception, one needs to decode the different layers that formulate these spaces. As in the case of a musical composition, the sequence is of essence, so it is in a building. The sequence of the spaces not only controls the path of movement and the movement pattern, but also hints a person to pause or proceed. If the different spaces in a building are not sequentially addressed, the activity of moving through it becomes mundane and absolute. While moving through old step wells mosques, temples, palaces or other monuments in India, there is a multiplicity of experiences which are felt due to the permeability sequential unfolding of the different spaces in these buildings . These experiences are not incidental but are the result of informed design decisions. But if we look at contemporary architecture, the aspect of kinesthetics is overlooked as an incidental phenomenon. Every space is an ensemble of absolute built fabric, with no scope of permeability or resilience. Architects have certain priorities with which they approach any project. Amongst them, usually, the least importance is given to the user experience, even though it is the most important criteria. Buildings designed with sound kinesthetics have the potential to create a humane habitat, conducive for its occupants. This dissertation is an attempt to find out the factors through which the experience of the users can be enhanced by heeding to the kinesthetics of a space.

Fig. 1.1.2 03

Introduction

1.1 PREMISES OF THE STUDY: Even though there are ample studies done on the subject of movement and kinesthetics, yet very few which look at the emerging human experiences while moving through a building. This thesis is aimed towards bridging this divide between kinesthetics and human perception, since they are not two separate phenomenon. They occur simultaneously and spontaneously and to achieve a rich kinesthetic experience, one must look at these two phenomenon as a single one and then approach the same in a building. Predominantly, there are two types of movement, one where the architecture itself is in motion and the other where the eye and the body moves due to the architecture. This research will look at the latter to address the aspect of kinesthetics in architectural spaces. Also, the method adopted for analyzing the diﬀerent buildings by studying them, frame by frame is inevitable to actually understand the reason behind the peoples’ frontward movement, pauses and meandering in a built space.

1.1 SUBJECTIVITY STATEMENT : I always ask myself when I visit monuments like Indian palaces, temples, mosques, step wells, and tombs; that which are the factors due to which these spaces are so appealing even today? Leaving aside the attributes of heritage, identity, etc.; if we look at these spaces, there are certain commonalities that emerge. The visitors have a rich kinesthetic experience, while visiting such places. The experience of moving through the monuments in India is in affinity with the experience of listening to Indian classical music. The concepts of kinesthetics are so deeply embedded in the spatial organization of these buildings, that there is a rich phenomenological experience, while moving through them. I have selected a top down approach in approaching this topic as it this phenomenon of kinesthetic perception is already an established phenomenon with different aauthors writing about it with different perspectives. Picking clues from such an array of literature, I have identified a few critical factors of kinesthetic perception. Thereby, analyzing them and testing their validity through examples of building where there is such an occurrence. Thus pointing out the spatial clues, one needs to keep in mind while designing a space so as to that one can have a rich kinesthetic experience while moving through the built spaces. The reasons for selecting instructional complexes to explore movement and perception of it were- all the different movement patterns can be explored spatially in a holistic manner. Institutional architecture; also because I wanted to look at non religious spaces with rich kinesthetics. I have personally been to the sites (Gandhi ashram, Gandhi labor institute & Centre for environmental education) which I have taken them as case studies for this thesis. The main reasons behind taking these sites were the associability of them with my research question and my familiarity with them.

Fig. 1.1.2 05

Premises of the study

1.2

STRUCTURE OF THE STUDY:

RESEARCH QUESTIONS:

METHODOLOGY:

-How to approach the aspect of kinesthetics, while designing a space? -Which are the factors to be considered while sequentially choreographing the movement? -Which are the common and which are the unique aspects, when addressing kinesthetics across diﬀerent built forms?

Part 1: The study starts with an insight to kinesthetics and the factors aﬀecting the phenomenon of kinesthetic perception in architectural spaces. Part 2: Drawing out main points from literature studies from which a framework for analysis is formulated.

RATIONALE: Kinesthetic perception is one of the primary aspects, which helps people to contemplate diﬀerent spaces in a building. Hence this thesis is an attempt to understand its potential and demonstrate how and where it can be approached. AIM: To ﬁnd out the factors which shape the kinesthetic perception of a person in an architectural space.

Part 3: Post that, three case studies which are having a common program and context are selected so as to analyze them in detail using that framework. Part 4: Then, by doing a comparative analysis the approaches towards kinesthetic perception amidst the three buildings are scrutinized so as to highlight the critical factors amidst them. Thereby, the thesis is concluded by an elaboration of those critical factors, which are to be considered so as to design a building which propagates a rich kinesthetic experience.

LEARNING OBJECTIVE:

OBJECTIVES: -To unearth the different approaches adopted towards addressing kinesthetic perception across different built spaces in the past and present times. -To study the sequence of spaces in buildings and the emergent movement patterns. -To decode the different elements which help formulate different spatial frames.

A better understanding and knowledge regarding this subject (addressing the phenomenon of kinesthetic perception in architectural spaces).

SCOPE: The focus of the study would be on the spatial clues which the building gives through which the human perception is aﬀected. The human behavior and feelings while moving through such spaces would not be studied. LIMITATIONS: For analysis of the buildings, the cases taken are restricted to institutional buildings so that all the diﬀerent facets associated with the movement and perception can be explored spatially in a holistic manner.

Structure of the study

Fig. 1.1.3

Fig. 1.1.4

1.1.1 KINESTHETICS:

1.1.2

Etymology of the word, Kinesthetics - It is an ancient Greek word which is a combination of two words(kineo -I, put in motion”) + (aesthesis- sensation). It basically implys movement sense (a1) It is a method of learning based on moving.

“To perceive means to realize, notice, appreciate and understand. It is not just to see.”(a2)

The kinesthetics in architecture, primarily is a collective action of vision and movement through a space. To understand it, we need to understand how a person traverse through a space. Kinesthetics can shape the user’s perceptions, moods and thereby their actions. Our perception of edges speciﬁcally informs our kinesthetic experience while moving through a space. The movement of the human body can be controlled within the built environment with respect to speciﬁc tasks. While studying the kinesthetics qualities of a space, the shifts, pauses and focus in the pathways need to be kept in mind. 09

Terminologies

PERCEPTION:

The diﬀerent ways in which people are informed by their surroundings is the phenomenon of perception. Through the ability of perception the people understand and interpret their environment. People usually perceive space in relation to something similar which they have seen prior to that. Cognition, or the way people understand the environment, occurs through immediate sensory experience coupled with memories and experiences from the past. (a3)

Terminologies

Fig. 1.1.5

Fig. 1.1.6

1.1.3 TYPES OF PERCEPTION:

1.1.4

Perception is nothing but a meaningful ensemble of sensory patterns. Architecture is the art of reconciliation between ourselves and the world, and this mediation takes place through the senses. (a4) - Juhani Pallsama

The experience of architecture is above all visual and kinesthetic. (a7) The experiences felt by a person while moving through a built space as perceived and accepted by his/her mind can be termed as kinesthetic perception.

The vision, hearing, smell, taste and touch- these five senses formulate the first layer of perception of anything. Thereby the second layer is to contemplate and analyze that. Amidst these five senses, the vision dominates the others while traversing through a space.

The changing scale, materials, articulation of every space in a building are consciously experienced by a person while moving through a space and has a direct impact on the quality of life in those spaces. The Gestalt principles also dominate the phenomenon of perception of the diﬀerent visual frames encountered while moving through an building.

Terminologies

KINESTHETIC PERCEPTION:

Terminologies

2.0 ANALYTICAL FRAMEWORK: 2.1.1 - Literature studies (research papers & books).................................................... 15 2.1.2 - Theories ..................................................................................................... 17 2.1.3 - Synthesis of Literature studies ....................................................................... 19 2.1.4 - Framework for analysis ................................................................................. 20 2.1.5 - Elaboration of the analytical framework 2.1.5.1 - Decoding the path of movement....................................................................21 2.1.5.2 - Decoding the spatial frames......................................................................... 25 13

Phenomenon of kinesthetic perception

LITERATURE STUDIES (TABLE 1): RESEARCH PAPERS Keywords

Research paper 1

Title

Choreographing architecture

LITERATURE STUDIES (TABLE 2): BOOKS

Research paper 2

Bernard Tschumi’s Philosophy https://www.slideshare.net/gauravshrin https://issuu.com/abiren/docs/ et3/bernard-tschumi-philosophy birenashleythesis2015_part_1 _of_2_

Author

Biren A.

Singh, G.

Main Purpose / Key Question

Can kinesthetic empathy help in choreographing architecture?

The screenplays explore the relation between the events (program) and the architectural spaces.

Key concepts

Movement and the body Movement and the arts Movement and space Body and space

Concerns of the screenplay 1.material (generators of form: reality, abstraction & movement) 2.device (disjunction, repetition& superimposition) 3.counterpoint (between movement & spaces, events & spaces, etc.)

Important Information

Kinesthetic components are produced from movements of habitation.

Spatial sequences usually have a peculiar structure, that is they can be viewed independently of the meaning they evoke.

Main Inferences

As a result of external forces ac choreographic architecture embraces human kinesis as the force of its creation.

Any architectural sequence can also be based on a precise, rational set of transformational rules and discrete architectural elements.

Main Assumptions

Main point of view

Movement is intrinsically linked with the way we experience our buildings. Thereby the kinesthetic components in spaces can be choreographed.

If spatial sequences can manifest diﬀerences of geometrical form, they can diﬀer by dimension alone and retain similar geometrical form.

Architecture can be choreographed so as to address kinesthetic empathy.

There is no architecture without action.

Literature studies

Keywords

Book 1 –Concepts of space in traditional Indian architecture (2005)

Book 2 – Poetry, Language, Thought (1971)

Title of chapter

Interpretation

Building, Dwelling and Thinking

Author

Pandya, Y.

Heidegger, M.

Main Purpose / Key Question

To describe the virtues of traditional architecture and interpret them as universal dictums

What is to dwell? and how does building belong to dwelling?

Key concepts

Indian notion of time, the duality of existence, the concept of world within a world, the idea of opposites as counterpoints, the role of semiotics and the changing perception of space while in movement.

Building accomplishes its nature in the raising of locations by the joining of their spaces. Building as dwelling unfolds into the building that cultivates growing things

Important Information

Nuances of traditional built forms in India: Non linear organization of spaces, the layering of spaces by baﬄes and thresholds, the provision of pause points, creative use of landscaping elements and play of light.

Aspects of the thing – Fourfold Nearness Making Two fold holding.

Main Inferences

Transcending time and space, good architecture remains communicative and interactive

The inherent property of building is to allow a person to dwell. This is achieved by the joining of the spaces.

Main Assumptions

These concepts can be accepted as universal dictums

Modern times have brought about confusion in the understanding of relations between building and dwelling with building not conceived as related to the state of our existence in the world.

Main point of view

Architecture communicates through spatial tools such as space sequences and its organization. This communication takes place at three levels: sensorial, experiential and associational.

The nature of coexistence of an intangible dialogue between the human brain and the surrounding environment is sought after.

Literature studies

Fig. 1.1.5

Fig. 1.1.6

1.1.1 SPATIAL LAYERING:

1.1.1 PERCEPTION OF THE AFTERIMAGE:

“Space not only recedes but ﬂuctuates in a continuous activity. Transparency means a simultaneous perception of diﬀerent spatial locations. ” (Rowe & Slutzky, 1982). (a6)

All sequences are cumulative. Their frames derive signiﬁcance from juxtaposition. They establish memory of the preceding frame, the course of events. - Manhattan transcripts, Bernard

Phenomenal transparency - The spaces in which movement is encouraged by introducing multiple elements and informing the people regarding the succeeding spaces possess such a transparency. Such type of spaces are multi-layered. The spatial layering in such a case is not explicitly visible but unconsciously felt. Villa Savoye is an apt example portraying phenomenal transparency. The multi-layering of frames of the sky, the landscape and the continuing planes encourage movement and guide the seeing eye.

Literature studies

An afterimage is an image that continues to appear even recur even after the original image is left behind. If we look at it from a architectural point of view, then the after image can be stated as nothing but a recurrence of few elements of the preceding spaces in to the succeeding spaces. Due to the repetition of the element, it becomes a spatial motif in the building. For example the recurrence of the arches I.I.M, Ahmedabad makes it an afterimage which is present in all the spaces. But, its articulation in each space is diﬀerent, hence while moving through the diﬀerent spaces one would not feel monotonous. Literature studies

LITERATURE SYNTHESIS (TABLE 3): Title

Keywords

ANALYTICAL FRAMEWORK FOR SCRUTINIZING THE KINESTHETIC PERCEPTION IN A BUILT SPACE

Synthesis

Kinesthetics, spatial conﬁguration, aesthetic language, rhythm, sequential movement , journey, spatial frames, perception SPATIAL PLANNING

Main Purpose/ Key Question

Key concepts

Important Information

How can we design architectural spaces with a kinesthetic empathy?

With every changing geometry, the rhythm of the moving body also changes, the changing perception of space while in movement, materials, devices and counterpoints.

Spatial sequences are generally structural due to which, they can be divided into parts and analyzed separately.

SPATIAL LAYERING

Perception of the pause point

Movement pattern

Spatial elements

Sequence of spaces

Organizational elements

Pauses while moving

Natural elements

Focal point/s Main Inferences

Any architectural sequence can also be based on a precise, rational set of transformational rules and discrete architectural elements.

Main Assumptions

If spatial sequences can manifest diﬀerences of geometrical form, they can diﬀer by dimension alone and retain similar geometrical form.

Gestalt principles Perception of the afterimage & the succeeding frame

EMERGING EXPERIENCES

Main point of view

To unearth the process of kinesthetic perception, we need to break down the process of movement and perception into its constitutional parts.

Literature synthesis

Stemming from the literature studies, this framework for analysis is formulated. The study of the building is divide, predominantly into two parts - spatial planning and spatial layering keeping in mind the perception of the afterimage, the pause point and the succeeding frame while moving through the different spaces in the building. The analysis of the spatial planning includes the study of the movement pattern, sequence of spaces, identification of the pauses while moving and the focal points in the plan. While, the spatial layering constitutes of the different elements which would be studied in each spatial frame. They are as following spatial, organizational, natural elements and Gestalt principles. Thereby the emerging experiences would be portrayed. Framework for analysis

2.1.5.1 DECODING THE PATH OF MOVEMENT : PROGRAMMATIC SPACES

PATHWAYS OF CIRCULATION

ENTRANCE TO THE BUILDING 4 Fig. 1.1.5

5 Fig. 1.1.6

1.1.3 MOVEMENT PATTERN:

1.1.4

The pattern of movement varies in accordance with the function of the building and the socio-cultural constructs revolving around it. The sequence of movement depends on the movement pattern. Predominantly, the conﬁgurations of the path for moving are as following: 1. Linear path – a straight path 2. Radial path – Linear paths from extending from a common point 3. Spiral path -single continuous path 4. Grid- parallel set of paths intersecting at regular intervals 5. Network – a path connecting established points in a space 6. Composite – a combination of two or more of the above mentioned patterns.

The sequence of spaces is nothing but the layering of spaces. The sequence of movement depends on the division or the sequence of spaces. The bifurcation between two spaces is generally marked by a threshold space. This becomes a intermediate space marker between two spaces.

Elaboration of the analytical framework

SEQUENCE OF SPACES:

Elaboration of the analytical framework

Fig. 1.1.5

Fig. 1.1.6

1.1.3 PAUSES POINTS:

1.1.3 FOCAL POINTS:

While moving through a space there are certain points when you can pause and comprehend a space which can be termed as pause points. There are diﬀerent types of pause points while moving through a space. The points where there is a change in elevation (steps) or change in the spatial frame become pause points.

The element which draws one’s attention while moving through a built space becomes the focal point. There are multiple focal points in the diﬀerent spaces of a building. Sometimes there are multiple focal points in a single space.

These pauses while moving are the breathing spaces and spaces of self contemplation for the people. Amidst the diﬀerent elements in a spatial frame some element tends to stand out which becomes the focal point and determines the duration of the pause.

So a focal point actually dominates the pause point as it is the reason behind the pause. The focal point is nothing but the view as seen from the pause point.

Fig. 1.1.2 23

Elaboration of the analytical framework

2.1.5.2 DECODING SPATIAL LAYERING AND SPATIAL FRAMES :

1.1.3 ORGANIZATIONAL ELEMENTS:

1.1.3 SPATIAL ELEMENTS:

1. Roof – It signiﬁes a shelter, implying volume. (a8) 2. Wall – a vertical plane which deﬁnes enclosure. (a8) 3. Floor - a horizontal plane which serves as datum for all the other elements in a space. 4. Stairs – A spatial element which governs the vertical transition of space between two horizontal planes. 5. Window – A visual link between the inside and outside world. (a8) 6. Door – A puncture through a plane allowing passage through it. (a8) 7. Column – a structural member which can also be used as a space making element.

Elaboration of the analytical framework

1. Axis – a line which divides spaces and on basis of which spaces can be arranged. 2. Symmetry - When the axis divides a space into two equal mirror images of each other, that space becomes symmetrical. 3. Hierarchy – When A form is given more signiﬁcance than others by its scale or its placement, then a hierarchy occurs. 4. Rhythm – a patterned repetition. 5. Datum – a form which binds other spatial elements. 6. Transformation – alterations in a singular form. .

Elaboration of the analytical framework

PROXIMITY

SIMILARITY

CONTINUITY

CLOSURE

FIGURE/GROUND

SYMMETRY

1.1.3 NATURAL ELEMENTS:

1.1.3 GESTALT PRINCIPLES:

 Natural light- Natural light gives the space a diﬀerent meaning and it is ﬂuidic as the light



    

quality changes as per the day and weather. Landscaping (trees & plants)- Landscaping gives a humane touch to the built space.. Water – Along with cooling the wind, water body relaxes the mid. Wind – Natural breeze from the outside of the building is soothing to the people while moving through a space. Temperature & humidity –While moving through a building, the efficiency in the transition from one space to other depends on the balance in temperature it offers. Rain – Although occasional, yet the stages of flow of the rain effects the perception of a person.

    

Similarity – The elements with similar shape color and size are perceived as a single element. Continuation: The human eye follows the paths, lines, and curves of a design, and prefers to see a continuous ﬂow of visual elements rather than separated objects. (a9) Closure: If the visual elements are not complete, the user can perceive a complete shape by ﬁlling in missing visual information. (a9) Proximity: Simple shapes which are in close proximity to each other are seen as conjoined to form a more complex image. Figure/Ground: The human eye isolates shapes from backgrounds. Symmetry: Elements that are symmetrical to each other are perceived as a single entity. The focus is constant in symmetrical compositions and hence they are easily readable.

 27

Elaboration of the analytical framework

3.0

CASE-STUDIES

3.1.1 - Rationale for selecting the case studies.............................................................32 3.1.2 - Annontations................................................................................................33 3.1.3 - Gandhi Ashram...........................................................................................35 3.1.4 - Decoding the path of movement 3.1.4.1 - Movement pattern......................................................................................37 3.1.4.2 - Sequence of spaces.....................................................................................39 3.1.5 - Decoding the spatial frames 3.1.5.1 - Path A......................................................................................................43 3.1.5.2 - Path B......................................................................................................52 3.1.5.3 - Path C......................................................................................................61 3.1.6 - Emergent experiences...................................................................................67 3.2.1 - Gandhi Labor Institute............................................................................... 68 3.2.2 - Decoding the path of movement 3.2.2.1 - Movement pattern......................................................................................70 3.2.2.2 - Sequence of spaces.....................................................................................72 3.2.3 - Decoding the spatial frames 3.2.3.1 - Path A......................................................................................................76 3.2.3.2 - Path B......................................................................................................83 3.2.3.3 - Path C......................................................................................................88 3.2.3.4 - Path D......................................................................................................91 3.2.3.5 - Path E......................................................................................................96 3.2.3.6 - Path F...................................................................................................... 103 3.2.4 - Emergent experiences...................................................................................109 3.3.1 - C.E.E..........................................................................................................111 3.3.2 - Decoding the path of movement 3.3.2.1 - Movement pattern......................................................................................113 3.3.2.2 - Sequence of spaces.....................................................................................115 3.3.3 - Decoding the spatial frames 3.3.3.1 - Path A......................................................................................................119 3.3.3.2 - Path B1....................................................................................................127 3.3.3.3 - Path B2....................................................................................................129 3.3.3.4 - Path C......................................................................................................139 3.3.4 - Emergent experiences...................................................................................145 Fig. 29

Case - studies

3.1.1

RATIONALE FOR SELECTING THE CASE - STUDIES:

2 The case studies which are selected are as following: 1. Gandhi Ashram (1963) 2. Gandhi Labor Institute (1985) 3. C.E.E. (Centre for environmental education) (1994) The main purpose of this thesis is to study the factors that shape the kinesthetic perception of the people while traversing through this building. These cases are good examples for exploring those factors. Since all of the three buildings are different types of institutions with varying scales, they have addressed movement differently, yet there are few aspects which are common amidst them. By studying the three different buildings we can actually identify the critical factors that impart a rich kinesthetic experience acrossthem. Note: the other buildings which were considered as tentative case studies are St. Xavier’s primary section, Shreyas foundation school and Computer centre, C.N. Vidyalaya.

3 31

Case - studies

3.1.2

ANNOTATIONS FOR THE SPATIAL PLANNING & SPATIAL LAYERING:

The spatial elements are the most crucial elements in the spatial frames. The similarity or the diﬀerences between the diﬀerent spatial frames predominantly depends on their articulation. Mostly, the pathway becomes a dynamic spatial element encouraging movement while the walls and other elements become the static element. The reverse is also true in some cases.

The diﬀerent approaches towards the diagrammatic representations in the thesis are explained here. They are as following: SPATIAL PLANNING:

SPATIAL LAYERING:

Movement pattern Spatial elements Sequence of spaces Gestalt principles & the organizational elements Location of pause points and focal points Natural elements The spatial planning dominates the path of movement and it influences the movement pattern of a person moving through the different spaces in the building. Although, many a times, due to the iterations amidst the different spatial frames, one tends to pause, meander and hence the movement pattern changes from the planned one.

SPATIAL ELEMENTS

The organizational principles are interpreted by a person moving through the different spaces in a building through the means of the Gestalt principles. Even though they are metaphysical in nature, yet as they are visual means to perceive a particular space, they also heavily influence the movement amidst the different spatial frames. They are the elements which help maintain the homogeneity between the afterimage, pause point and the succeeding frame.

MOVEMENT PATTERN

C B

The sequence of spaces is nothing but the functional bifurcation of the spaces. It is similar in all the three case studies since they are institutional buildings. The sequence of spaces across the buildings is as following: a. The entrance b. The pathway for circulation c. The programmatic spaces d. The non-programmatic spaces

GESTALT PRINCIPLES

A The natural elements such as the natural light and the landscaping elements are usually the subsidiary elements. But in some cases, they indirectly hint a person to pause or move through a space.

SEQUENCE OF SPACES

The pauses and the focal points are identiﬁed in each spatial frame and thereby they are located on the plan. Through this we can track the thresholds amidst the diﬀerent spaces.

NATURAL ELEMENTS

PAUSES & FOCAL POINTS 33

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3.1.3

GANDHI ASHRAM:

Location: Gandhi Smarak Sangrahalaya, Ashram road, Ahmedabad Year of completion: 1963 Architect: Late architect Charles Correa Building typology : Museum

Fig. 35

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3.1.4 DECODING THE PATH OF MOVEMENT:

4 3

N 0 5

G.F. Plan

3.1.4.1 MOVEMENT PATTERN : GRID - FORMATION:

Legend: 1. Letters 2. Ofď&#x20AC; ce 3. Photographs & paintings 4. Water court

The path of moving is linear until the water court from where it bifurcates in two directions. The building planned in a grid iron pattern, the movement through the building also follows that pattern. Although the movement pattern may be rigid, yet due to the interplay of the open to sky courtyards and the passages, one tends to meander through the building.

5. Books 6. Meeting space 7. Toilets

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3.1.4.2 SEQUENCE OF SPA CES:

D C B A D C B A N 0 5

0 5

THE ENTRANCE:

THE PATHWAYS FOR CIRCULATION:

The entrance to this building is not speciﬁcally designated as a formal entrance foyer, rather it merges with the succeeding paths and guides the people to the central water body.

Being a museum, the most important factor in this building is the movement. Hence the architect has specifically focused on circulation spaces. Even though the entire building is almost transparent, yet every path offers a different view.

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D A

N 0 5

0 5

PROGRAMMATIC SPACES : Although the exhibition is spread throughout the circulation spaces too, yet there are three designated programmatic spaces. These spaces are also in aďŹ&#x192;nity with the passages as the inside and the outside merges eďŹ&#x192;ciently.

NON - PROGRAMMATIC SPACES : Even after coming outside the building, there is a constant interaction with it due to visual transparency. The building is read as a rhythmic staggering of the square modules amidst the landscape from the outside.

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C 42

3.1.5 DECODING THE SPATIAL FRAMES:

3.1.5.1 PATH A:

0 43

2.5

PATH A: The physical path of movement is quite straight forward. But due to the varying vistas of the building seen while reaching the entrance, there are multiple pause points before going inside the building. Case - studies

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PATH A:

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1 3

2 N 0 5

FRAME-4

FRAME-1

FRAME-2

FRAME-5

1.1.3 PATH - A : The entrance to this building is sequential and oďŹ&#x20AC;ers multiple views which cause certain pauses (1,2,3,4 & 5) before reaching the main entrance.

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Note: The spatial frames are the views seen from the consecutive pause points. Please ďŹ nd an elaborative study of the spatial frames, 1 to 5 from page numbers 11111 to 3343 respectively.

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FRAME 1:

FRAME 2:

The entrance to the premises is quite humble through winding low height walls. These walls become the datum guiding the movement. The minimal gesture of the wall gives the entrance a sequential unfolding. The beginning of the steps serves as a pause point. The focal point in this frame is another wall perpendicular to it, a mural of Gandhiji and a tree which imply the shift in the movement. As the wall is low in height and spread over a short area, we can get a sneak of the succeeding frame and thereby move towards it.

As we progress ahead, the ďŹ rst glimpse of the building through the linear stretch of greenery becomes a pause point. As parts of the building are revealed, there is a strong anticipation for the next frame. The vastness of the frame itself serves as a view to pause and comprehend. There is no deďŹ nitive focal point here as the entrance to the building is not visible due to the continuation of the paving, the trees and the built form. The bushes and the trees also accentuate the linear movement.

FRAME -1

FRAME -2

Afterimage 47

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Succeeding frame 48

FRAME 3 :

FRAME 4:

Slowly, the building reveals itself as we move forward. The building seems ﬂoating as it is elevated a bit from the ground and due to the mound in the garden. This frame becomes the focal point as it is the very ﬁrst eminent visual of the building. Here itself, we are made aware of the modular approach towards the building. In this path, we can simultaneously the previous frame and the succeeding frame together which pushes us to contemplate the space right from the beginning even before entering the space.

Here, the wall of the building disappears and the building completely opens up. The symmetry and continuation of the frame captivate one’s attention and hence this frame serves as an inevitable pause point. One might presume that this is the entry to the building. But this frame actually builds up one’s eagerness for entering the building due to its sheer transparency and multiple layers.

FRAME -3

FRAME -4

Afterimage 49

Succeeding Succeedingframe frame

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Succeeding frame 50

FRAME 5:

3.1.5.2 PATH B:

The symmetrical entrance to the building becomes a significant pause point and it is in close affinity to its after image. This becomes the first threshold space in the building as it is marked by the transition from the outside to the inside. Due to the continuation of the floor plane, the space literally seems to move seamlessly inside the building.

2.5

5m The circulation in this path, although linear yet due to the courtyards, one tends to meander to the open spaces. Such an occurrence enriches the kinesthetic perception of the people as there are diﬀerent pause points and focal points.

FRAME -5

2.1m

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PATH B:

10 6

FRAME-9

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FRAME-8

FRAME-7

FRAME-6

1.1.3 PATH - B : Due to the constant interaction between the inside and the outside the pause points (6-10) in this path are quite involuntary.

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Note: The spatial frames are the views seen from the consecutive pause points. Please ďŹ nd an elaborative study of the spatial frames, 6 to 10 from page numbers 11111 to 3343 respectively.

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FRAME 6:

FRAME 7:

On stepping inside the building, the multiple frames become explicitly evident. The continuation of the ďŹ&#x201A;oor plane and the repetition of the brick columns are complemented by the symmetry in the frame.

On turning right, alternating frames of the courtyard and the adjacent built form is seen. There is a hidden bilateral symmetry as two faces of the adjacent building are evident in this diagonal view.

These elements encourage the forward movement while the pyramidal roof emphasizes a single spatial module and acts as a pause point. Due to the continuation of the ďŹ&#x201A;oor plane, we are visually transported to the innermost frame.

Without the openness, one would not pause here. The alternating greens and diďŹ&#x20AC;ering light as per the direction of the opening make this frame worthy of contemplation.

Afterimage 55

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Succeeding frame 56

FRAME 8:

FRAME 9:

When you turn left, a similar view like frame 7 is seen. The ﬂoors and the walls seem to merge, making them dynamic elements while the roof acts as a static element and asserts a pause in movement.

As you take a few steps forward, the open to sky courtyard ﬁlled with pebbles is seen. Due to the sheer openness and bright natural light reﬂecting from the white walls, one is driven towards the courtyard.

These transitional spaces gives an overview of the forthcoming spaces.

Due to the explicit transparency amidst the diﬀerent spatial frames, the after image actually reappears while moving ahead. Hence there is a poignant harmony amidst diﬀerent spaces in the building.

Afterimage 57

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Succeeding frame 58

FRAME 10:

3.1.5.2 PATH C:

On turning behind, the entrance becomes the focal point and the space visually ďŹ&#x201A;ows outside the building in a seamless manner. The greenery outside the building seems to be in aďŹ&#x192;nity with the greenery in the courtyards inside the building.

2.5

PATH C: The circulation is spread laterally as the pathway bifurcates into two parts. The water body is physically and visually centric in this part of the building and thereby it governs the movement to an extent. There are extended vistas from either side of the water body.

Afterimage 59

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PATH C: 15

14 11

12 FRAME-15

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FRAME-13

FRAME-14

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1.1.3 PATH - C : Spaces along this path oﬀer long extended view of the entire building as the building spreads laterally on both sides. Hence there are diﬀerent pauses (11-15) and their respective focal points. 61

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Note: The spatial frames are the views seen from the consecutive pause points. Please ﬁnd an elaborative study of the spatial frames, 11 to 15 from page numbers 11111 to 3343 respectively.

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FRAME 11:

FRAME 12:

Right from the entering the building, the axis of pathway leads to the water court. Subsequently the movement occurs in the direction of the central courtyard. On reaching this space, two square modules are revealed instead of one which becomes an element of surprise.

When one turns right, a maze of columns and courtyards are seen. Due to the repetition of the similar square modules, there is a bilateral symmetry when seen from this angle. Along with the labyrinthine movement, there is an interplay of light too.

The water body becomes a threshold space and as there is a culmination of the entire movement until then. The very vastness of the open space and the water body capture's oneâ&#x20AC;&#x2122;s attention. Thereby the entire journey as a whole becomes quite emphatic.

The other elements are static but the ďŹ&#x201A;oor appears to be continuing and meandering. All these aspects encourage one to move further on that path.

Afterimage 63

Succeeding frame

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FRAME 13:

FRAME 14:

In this space, there is a literal continuation of the frame translating a person visually from inside the space to the garden outside. The outside overpowers the inside due to which the view becomes a ďŹ gure ground frame with the dominance of the outside. The natural light penetrating from the large open to sky water body plays a big role in the occurrence of this phenomenon. After passing through so many spaces, we can easily comprehend the succeeding frames while being in another space.

The impact of after image of the water court pervades even through this space in the form of other courtyards. In this frame, the repetition of the spatial frames contributes to the forward movement. But, as both sides of the passage are covered by tag boards, one is guided straight to the programmatic space with intercepting natural light.

The

Afterimage 64

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Succeeding frame 65

FRAME 15:

EMERGENT EXPERIENCES:

We can see this view after coming outside the building. Looking at the building from the rear gives an impression of a series of similar staggered spatial units poised in the garden. It is similar to the entrance. The spaces with no walls provide extended view of the interiors. This aspect actually builds on the after image of the interior spaces and helps us to recall the critical spaces in the building. Thereby the garden seems to continue visually inside the building.

FRAME-5

FRAME-6

FRAME-9 This building being a museum, movement is an crucial role to play in shaping the kinesthetic perception of a person. Each spatial frame is in unison with the other one visually due to the modular approach towards the articulation of the spaces in the building.

FRAME-11 66

FRAME-13

Also, each module is visually connected with other spaces due to the pervading transparency amidst the spaces, hence one has a command over where one chooses to move hence there is a harmonious and rhythmic movement.

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3.2.1 GANDHI LABOR INSTITUTE: Location: Thaltej Road, Ahmedabad, India Year of completion: 1985 Architect: B.V. Doshi & J.A. Stein Building typology : Research institute 68

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3.2.2 DECODING THE PATH OF MOVEMENT:

LINEAR PATH F.F. Plan

0 5

3.2.2.1 MOVEMENT PATTERN : LINEAR:

Legend: 1. Lawn 2. Spray pond 3. Auditorium 4.Services 5. Air conditioning plant 70

6. Raised platform 7. Office 8. Office 9. Office 10. Residences

11. Courtyard 12. Amphitheatre 13. Oﬃce 14. Directors residence 15. Parking Case - studies

The path of moving is an ensemble of different linear paths. As you enter the premises, the diagonal pathway leads you to the entrance by climbing the steps in a linear fashion. From there the movement happens radially as per your choice. Once you have fixed a path the movement again becomes linear. The central pathway is critical to this movement and it becomes an efficient way of diverting the people. Case - studies

THE ENTRANCE: As you enter the movement is diagonal which becomes linear gradually. There is a slow and sequential reveal of the main entrance of the building from the entry gate of the premises. There is a ceremonial progression towards the main entrance. You reach directly on the ďŹ rst ďŹ&#x201A;oor of the building.

PATHWAYS: These spaces act as the spine of the building. As they are dynamic in nature and encourage movement, they play the most important role in shaping the kinesthetic perception of the people.

A B

B A

N 0 5

A 72

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PROGRAMMATIC SPACES:

NON PROGRAMMATIC SPACES:

Every space bifurcates from the circulation to the respective functions. Thereby each one of them is approached diďŹ&#x20AC;erently according to its purpose. Even though the programmatic spaces are more formal in approach, yet they get enlivened as they are in constant interaction between the inside and the outside.

The pathways also lead to the spaces outside. Thereby the entire building opens up. Every phase of in this process of circulation from the entrance to the circulation pathways to the programmatic spaces to the courtyard acts a major threshold. These thresholds act as associational entities and help people in orienting themselves while moving through the building.

B B A

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A 74

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B 75

3.2.3.1 PATH A:

2.5

PATH A: This path comprises of the steps, the vaulted structures, the skylights and the shaded entrance foyer. The articulation of these elements shape the kinesthetic perception of a person. We move from a wide space to a narrower guided entry in between the two massive vaults.

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PATH A:

FRAME-2b

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FRAME-1 1.1.3 PATH - A : The entrance pathway of this building is marked by three pauses (1,2 & 3) and their respective focal points.

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Note: The spatial frames are the views seen from the consecutive pause points. Please ďŹ nd an elaborative study of the spatial frames, 1 to 3 from page numbers 11111 to 3343 respectively.

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FRAME 1:

FRAME 2a:

As we enter the premises of this building, we tend to pause and see the steps in between the vaulted structures and the plantations. The steps are the inviting and they become an extension of the ground.

Coming with a cognizance of the previous wider space, the movement gets channelized due to the central juxtaposition of the steps ďŹ&#x201A;anked by the vaulted structure on both sides. Thereby, there is a strong symmetry and order felt which propagates a focused frontward movement. The steps also help in continuation of the visual frame. They steps act as the dynamic elements encouraging movement and the vaulted structures atop the opaque stone walls are static elements enhancing the movement.

Because of the prominence and emphasis of the steps, the movement is diverted diagonally towards them. We get a glimpse of the succeeding frame and thereby are driven towards it.

FRAME -1

FRAME -2

The sequential unfolding of the entrance builds on oneâ&#x20AC;&#x2122;s sense of curiosity while moving through the spaces. The meticulously juxtaposed pauses are critical for such a sequential unfolding. Succeeding frame 80

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Succeeding frame 81

FRAME 2b :

3.2.3.2 PATH B:

After reaching this point after coming, there is a sense of completion and satisfaction on completing the journey through the extended entrance promenade.

5.5 m

At the same time, we are intrigued to see the succeeding frame, as the space gets enclosed.

FRAME -3

2.5

This path is an important threshold space after entering the building due to the bifurcation of the spaces and resulting choices of movement. Also it becomes a space for self contemplation due to the raised platform and the steps. Afterimage Afterimage 82

Succeeding Succeeding frame frame Succeeding Succeeding frame frame

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Succeeding frame 83

PATH B:

FRAME-5

FRAME-4

N 0 5

1.1.3 PATH - B :

FRAME-3

If we walk straight from point 3, we come right outside the building. As we reach the edge of the platform (point 4), the space expands onto the amphitheater with the residential block as a focal point. As we turn behind (point 5) we are guided inside the building with the view of the vaults as the focal point. 83

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Note: The spatial frames are the views seen from the consecutive pause points. Please ďŹ nd an elaborative study of the spatial frames, 3 to 5 from page numbers 11111 to 3343 respectively.

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FRAME 3:

FRAME 4:

This space serves as a threshold space from where one can go to the left towards the oﬃces or take a right towards the auditorium or go straight and reach outside the building.

Coming out from the low height space, we see the entire building unfold itself all at once. The expansive frame engulfs us and one feels the urge to climb down steps of the amphitheater.

The succeeding image is not made evident which raises curiosity in one’s mind. The next space unfolds only when you choose one of the three paths.

This space gives us a feeling of authority as we are at a higher level and we can glance at the diﬀerent buildings from this point. Every element prompts us to move towards the main door of the building.

FRAME -3

A C

Afterimage

Afterimage 85

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FRAME 5:

3.2.3.3 PATH C:

On turning back one can see the this view of the conďŹ&#x201A;uence of the three vaulted roofs. The three vaults become similar stand out and the space in between seems closed. The central block is the space, which invites you to go inside the building again. We are well aware of the succeeding frame as it was the one from where we reached out.

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1.1.3 PATH - C : While being in frame 3, one has two other options- frames 6 & 7, leading towards the oďŹ&#x192;ces and towards the auditorium respectively. Afterimage 87

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FRAME 6:

FRAME 7:

The staircase leading to the seminar room and the pathway to the auditorium is seen from this position.

On turning left from frame 3, there is an involuntary pause due to the bright sunlight penetrating inside the building from the huge arched fenestration.

Due to the linearity of this pathway, the multiple layers and the poignant symmetry, the motion is accentuated towards that side. At the same time we are aware of the other linear path heading in a diďŹ&#x20AC;erent direction.

The pathway below the arch with a staircase is bleakly visible which guides the slow movement frontwards.

Afterimage

Succeeding frame

Afterimage 89

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3.2.3.4 PATH D:

PATH D:

5.5 m

This central bay has multiple pause points (8 & 9) and their respective focal points as it is a long linear passage with a staircase connecting to diďŹ&#x20AC;erent parts of the building.

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FRAME-8 91

The spatial elements which form this space are: a 6m high vaulted roof, a 5.5m wide passage, a single ďŹ&#x201A;ight staircase leading downwards and a passage heading left, fenestrations and columns.

2.5

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FRAME 8:

FRAME 9: This frame consists of the 1.5 m wide passage with stone columns with parapets on the outer edge and stone columns with windows in the interior side. This space is 2.3 m in height. It strongly contrasts the spatial language in the preceding spaces.

This space again become a threshold from where the movement gets diverted towards the oďŹ&#x192;ces on the left and the lower ďŹ&#x201A;oor through the staircase. 1.5 m

2.3 m

The human scale gets dwarfed due to the double height vaulted space. The movement gets complimented by the light coming from either sides on to the passage.

2.5

Afterimage

There is a strong continuation felt in terms of the of the after image as one proceeds in the same direction with a similar spatial articulation. This helps in a focused movement. Also, this is the space, where in the vault asserts itself as a spatial motif.

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FRAME 9:

3.2.3.5 PATH E:

When we turn left there is a sudden change in the spatial language from a vaulted space to a colonnade with parapets which is marked by a stringent pause in the movement.

The huge courtyard located in the central part of the building is the focal point of the building. All the spaces- the staircase, the corridors open out onto the courtyard.

Although it is narrower than the previous path, yet it feels wider as the space opens up to the courtyard due to the large openings. Thereby even the speed of movement increases and we are urged to reach the courtyard on the lower ďŹ&#x201A;oor.

Afterimage 95

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PATH E:

FRAME-12

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1.1.3 PATH - E: This central bay on the ground ďŹ&#x201A;oor also has multiple pause points (10,11 & 12) and respective focal points. This path opens up in to the courtyards on either side. FRAME-10 97

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FRAME 10:

FRAME 11:

As we go down though the staircase, we are drawn towards the courtyard lit up brightly with natural light. Even in this space we feel the presence of the vault as we see it in elevation.

Moving back inside the building, we encounter this spatial frame. The space continues visually into the garden on the other side of the building. This gives a seamless feel to the courtyard and we are drawn towards it. The courtyard becomes another threshold as there is a sense of completion in this space as we can feel the entire building at once.

Hence there is a continuation of the after image in this space also. In the elevation, due to the placement of the doorway and the balcony in the center of the faรงade, the symmetry gets pronounced and enforces a linear movement. The placement of the trees add to this symmetry.

Afterimage 99

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100

FRAME 12:

FRAME 13:

This spatial frame is formed by the single ﬂight staircase and the colonnade on either side of it placed on a 5m wide passage.

On moving inside the building the staircase again presents itself. Here, we get a cognizance of scale of both the floors together while being inside the building due to the provision of a single flight staircase. The staircase is the driving factor of movement in this pace. Even though, both the sides of this space open up into the courtyards, yet due to the presence of the centrally juxtaposed single flight staircase, there is a urge to move upwards.

2.5

2.2 m

Afterimage 101

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3.2.3.6 PATH F:

FRAME-14

FRAME-15

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1.1.3 PATH - F : This path also oï¬&#x20AC;ers various pause points (13,14,15 &16) and succeeding focal points as it gets extended on to the lower FRAME-13 level. 103

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FRAME 13:

FRAME 14:

If we go down the stairs from frame 6 and reach the lower ďŹ&#x201A;oor, then we see this rear view of the other staircase.

If we turn around we can see the quarter turn staircase poised centrally. Here, the staircase is the driving factor for movement.

As we are in a darker low height space, we are guided towards the lit up colonnade. The movement from darkness to light is quite spontaneous.

Afterimage 105

The quarter turn staircase breaks the movement into smaller parts and thereby has a sequential approach. Hence one is drawn towards it. At the same time due to the transparency of the adjacent space, we can view the succeeding frame simultaneously.

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Succeeding frame 106

FRAME 15:

FRAME 16:

On approaching the seminar room, the diďŹ&#x20AC;erence between the two levels becomes evident. Yet the two spaces are visually connected as they are not cut oďŹ&#x20AC; completely by a wall but partially divided by a low height wall.

This space is a combination of various spatial elements and the levels add to that variety. The steps, the skylight the walls are eloquently juxtaposed with an inherent harmony. This space is the lowest point in the entire building and we feel that while walking through it. The close proximity of the walls, the presence of the stairs and the sky-light all together encourage upward movement.

Here, the after image and the succeeding frame, both are visible from the pause point which makes us perceive the entire space as a single seamless one.

When we head back to the upper level from the seminar room, we stop before the steps due to the washed out light falling onto the steps from the glass bricks.

2.5

The symmetry of this passage is challenged by the presence of the adjacent space. Yet the movement is inevitably downwards and the sky-light falling on the steps in the front adds to this movement.

Afterimage 107

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There is a strong anticipation for the succeeding space while moving through the building as there is visual coherence between two adjacent spatial frames.

3.2.4 EMERGENT EXPERIENCES:

The continuous shifting of the axis in the path of movement, is evident in the spatial organization of this building. This attribute is translated efficiently in each of the spatial frames of the building too. Each spatial frame is different from the other in the same building. Due to this kind of diversity, a person traversing through these spaces has a plethora of different experiences.

The articulation of each spatial frame is unique, yet to due the poignant symmetry, one does not loose focus while moving through this building. Every space provides opportunities to meander around it.

109

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3.3.1 C.E.E. (Center for environmental education): Location: Thaltej Road, Ahmedabad, India Year of completion: 1985 Architect: B.V. Doshi & J.A. Stein Building typology : Research institute 111

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3.3.2 DECODING THE PATH OF MOVEMENT: 2

14 15 12 13

16 1 5

8 9

10 11 N

MEZZANINE LEVEL PLAN

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LEGEND: 1. 2. 3. 4.

Director’s oﬃce Admin & accounts Library Resource group

5. Children's’ program 6. Rural program 7. Urban program 8. Waiting & public 3.3.2.1 MOVEMENT PATTERN : LINEAR

9. Graphic design 10. Audio visual 11. Workshops 12. Crèche below

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13. Canteen 14. Staﬀ parking below 15. Auditorium 16. Seminar room

Even though there are many level and the path is a winding one, yet when seen as a whole, the path from the entrance of the building until the research group court is linear. This path connects three detached buildings and on approaching ever junction, the path widens out in a court.

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3.3.2.2 DECODING THE PATH OF MOVEMENT:

B B

N 0 5

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THE ENTRANCE: The entrance pathway to the building is sequential and quite unique. There are two staircases in diﬀerent directions and a ramp adjacent to the ﬁrst series of steps.

PATHWAYS: The circulation spaces are the most unique and important spaces in C.E.E. It is only through these spaces, that one can relate to each diﬀerent building and see this campus as holistic built environment.

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C A

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PROGRAMMATIC SPACES: The programmatic spaces are in constant interaction with the outside. Also the articulation of the spaces diďŹ&#x20AC;er according to their respective functions due to the variation of the levels.

NON - PROGRAMMATIC SPACES: As the buildings are interspersed on a contoured site, the rear side of the buildings open out on to the un-levelled dense green forest. The intermediate spaces between the buildings are also adorned with seating spaces and bridges which brings the element of play in the non programmatic spaces too.

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PATH A:

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3.3.3.1 PATH A: The diversity in this space is seen in the use of diďŹ&#x20AC;erent spatial elements (steps, pergola and ramp, low height walls) and the unique approach towards their articulation. 119

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PATH A:

2 3

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3.3.3.1 PATH - A : The entrance to this building is quite intriguing as there are multiple entrances to the building and the entrance promenade is diverse in nature oďŹ&#x20AC;ering a rich kinesthetic experience to a person traversing through it.

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FRAME 1:

FRAME 2:

The very ďŹ rst pause point oďŹ&#x20AC;ers three choices of movement as the path visually continues ahead in the left, inside the parking space in the center and inside the building through the stairs on the right.

On taking the path on the extreme left of frame 1, we reach the main entrance to the building. The series of similar pergolas supported by frames of brick columns asserts a visual continuation.

The foliage contrasts this movement as it creates a sense of ambiguity in this bifurcation. While the building perpendicular to the pathway and the steps on the right side help in guiding a person to move towards itself.

This frame is also in aďŹ&#x192;nity with that of the previous one in terms of the spatial language. Although there is no singular focal point yet the movement occurs due to the gradual continuation of the path from outside to inside and due to the staircase.

As the succeeding frame of the main entrance is not visible, we do not have any idea about its form. Rather we are driven to enter the building from this path. But if progress in the third path, we are surprised on reaching another entrance to the building. Hence this discovery, although not expected, yet is quite emphatic. Succeeding frame 123

Afterimage Case - studies

Case - studies

Succeeding frame 124

FRAME 3:

FRAME 4:

Being a continuation of the previous frame, the presence of the after image is felt strongly. Reaching midway, while traversing through this elongated stairway, one can see the auditorium block on the left. This becomes a pause point while moving.

On the completion of the stairway, when one is compelled to pause and look back towards the series of frames and pergola to comprehend the space in its entirety. Thereby the hierarchy and continuation of the multiple frames felt while moving through this space becomes evident.

The stairs and the parapet continues until the auditorium guiding as well as bifurcating the movement towards the front entry on the lower level and the rear entry on the higher level.

Afterimage 125

There is a realization of the symmetry of the space and the light and shadow due to the pergola is pleasing to the eyes. The succeeding frame is quite diďŹ&#x20AC;erent from this path hence becomes detached.

Succeeding frame

Afterimage Case - studies

Case - studies

Succeeding frame 126

PATH B1:

FRAME-6

N 0 5

FRAME-5b

3.3.3.1 PATH - B1 : This path is dominated by presence of trees and plants, hence the visual movement is also in aďŹ&#x192;nity with it. The movement through this open to sky path consisting of bridges, detached buildings and engulďŹ ng greenery is quite exploratory. FRAME-7

FRAME-5a 127

Case - studies

128

PATH B2:

FRAME-11

N 0 5

FRAME-8 3.3.3.2 PATH - B2: Even after reaching the upper level, one is connected visually with the lower ďŹ&#x201A;oor and the adjacent buildings. The movement in this space becomes interesting due to the staggering of the path and the sequential unfolding of the spaces. FRAME-9

FRAME-10 129

Case - studies

130

FRAME 5a:

PATH B2:

As we move ahead, a bridge with a downward slope is seen which drives the frontward movement as there is a sense of exploration. This frame contrast the spatially after image as the spatial elements are restricted to a bridge and a pathway.

We are not aware of the succeeding frame due to the winding of the path and the thick green cover which increases curiosity and the speed of movement.

N 0

2.5

Reaching the circular juncture, we tend to pause and contemplate the spaces around the bridge. The greenery dominates this path and we are engulfed by it. Thereby the succeeding frame also is quite ambiguous as the vision is dominated by the greenery.

Afterimage 131

Afterimage for 5a

FRAME 5b:

The movement in this space, even though it is linear, one tends to meander due to the multiplicity in the type and scale of spatial and natural elements.

Succeeding frame for 5a Case - studies

Case - studies

132

FRAME 6:

FRAME 7:

On approaching this space there is a voluntary pause in the movement of a person, since it is an overwhelming ensemble of diďŹ&#x20AC;erent elements of diďŹ&#x20AC;erent scales.

After reaching the mezzanine level, on turning behind, we see this view. Even though the view of the tree dominates the frame, yet the axis and the long pathway is seen.

The water body and the trees compliment the movement here. There are multiple frames of pauses as the space slowly unfolds itself whilst giving a view of the staircase ahead. The staircase is the focal point and is in the same axis as the bridge, thereby continuing each frame.

The close proximity of the walls of the staircase and the symmetry of this view helps in the continuity of the frame. The perception of the movement becomes easier as the preceding frame and the succeeding frame are visible from the pause point.

The preceding path, the pause point and the succeeding frame seem to be in visual aďŹ&#x192;nity with each other since the path pierces through and besides buildings and moves forwards. Afterimage 133

Succeeding frame Case - studies

Afterimage Case - studies

Succeeding frame 134

FRAME 8:

FRAME 9:

Proceeding ahead, another set of steps guide us to the upper level. This play of levels is multifaceted in nature and it imparts the peculiar character to the buildings in this campus.

On reaching this spot, there is a notable pause in the movement due to the stark difference in the spatial composition from that of the ground floor. Even though, similar building materials are used, yet their articulation is unique. The biggest contrast which indirectly affects the movement pattern of a person is the change in direction of movement from that on the ground floor.

The circular column is the focal point and also adds to the symmetry of the space. As the parapet walls are in close proximity steps of each other and the less number of steps, one naturally climbs atop.

The uniformity of the colonnade on the right side is contrasted by the staggered parapet. The long perspective and the shadow of the pergola helps in the continuation of the frame and encourages forward movement.

Afterimage 135

Succeeding frame Case - studies

Afterimage Case - studies

Succeeding frame 136

FRAME 10:

FRAME 11:

It is only when one reaches the edge of the path from point 9, that the bridge is revealed. Thereby the space appears to continue onto the right side.

When we turn around from point 10, a long continuous pathway which overﬂows onto the other side becomes visible. Every spatial element builds encourages the forward movement. The frame becomes considerably wider, and the pergola also helps in the continuation of the space onto the other side.

Due to the low height of the parapet, the upper and the lower space are visually connected. The constant visual interaction between the diﬀerent buildings through bridges and passages helps a person to relate the detached buildings.

Afterimage 137

The tree also adds to this feeling of enlargement of the space. It is only due to the presence of so many diﬀerent elements that a single space oﬀers such a rich kinesthetic experience.

Succeeding frame Case - studies

Afterimage Case - studies

Succeeding frame 138

FRAME 12:

PATH C:

The seminar room becomes an intermediate space in between two single ﬂight staircases. This passage become the feeder path as it connects the two diﬀerent parts of the buildings and it upholds the linearity of the pathway as the visual axis is not hindered.

The pergola helps in upholding the perception of the after image. The pergola is the spatial element which is repeated in all the spaces giving a homogeneous character to the entire complex. It becomes an indetachable part of the image of the building.

N 0 5

FRAME-13

FRAME-14 3.3.3.4 PATH - C :

FRAME-12 139

The transition in this path occurs in the reverse pattern of the previous path B – from the mezzanine level to the ground level. But the articulation of the spaces is quite diﬀerent as compared tot the previous path. Case - studies

Afterimage Case - studies

Succeeding frame 140

PATH C:

3.2 m

This path also offers different spatial experiences due to the unique articulation of similar spatial elements (the staggered passage, the bridges, the single flight staircase and the open to sky court).

N 2.5

2.5 m

141

Case - studies

142

FRAME 13:

FRAME 14:

The pergola seen atop the seminar room become the focal point and that helps in the relativity of the diďŹ&#x20AC;erent frames. The tree provides meaning to this courtyard and helps in association of each building amidst the courtyard.

We see this view, when we take a right from the courtyard. From this side, the building seems static and the protruding frames become dynamic. The staggered wall of the staircase implies movement. The pergola atop the column is a reminiscent of the prior frames. Even though the entry to the building is marked by a single column, yet it becomes symmetrical when seen from this space.

It also helps in bifurcating the movement to an extent. The varying levels and the gradual revelation of the spaces becomes an integral part of the kinesthetic perception of this campus.

Afterimage 143

Succeeding frame Case - studies

Afterimage Case - studies

Succeeding frame 144

3.3.4 EMERGENT EXPERIENCES:

There is a scalar progression which is not explicitly seen, yet it is experienced as the spaces expand gradually from the main arrival court through the reception court to the other research group court. 145

Case - studies

There is a labyrinthine movement due to which one meanders through the pathways which are pervading through the detached buildings. The visual axis helps a person to retain the focus while moving through this complex as it extends up to long distances. Case - studies

146

4.0

CONCLUSION

4.1.1 - Comparative analysis 4.1.1.1 - Movement pattern .....................................................................................149 4.1.1.2 - Sequence of movement & pause points..........................................................151 4.1.1.3 - Articulation of the spatial frames (G.A.)........................................................ 153 4.1.1.4 - Articulation of the spatial frames (G.L.I.).......................................................155 4.1.1.5 - Articulation of the spatial frames (C.E.E.)..................................................... 157 4.1.1.6 - Scalar sequence .........................................................................................159 4.1.1.7 - Approach towards symmetry & continuation .................................................160 4.1.1.8 - Approach towards natural light.....................................................................161 4.2.1 - Learnings from the study 4.2.1.1 - Articulation of the spatial organization..........................................................163 4.2.1.2 - Articulation of the pause pints & focal points..................................................164 4.2.1.3 - Articulation of the spatial frames.................................................................. 165 4.2.1.4 - Articulation of the Spatial elements...............................................................166 4.2.1.5 - Approach towards the Gestalt principles........................................................167 4.2.1.6 -Approach towards the organizational elements(scale) .....................................168 4.2.1.7 - Articulation of the natural elements...............................................................169 4.3.1 - Concluding note.........................................................................................170 4.3.2 - References ................................................................................................171 147

Comparative analysis

148

4.1.1 MOVEMENT PATTERN:

1. GANDHI ASHRAM 1. The grid iron movement pattern is in sync with the modular spatial planning yet it gets contrasted by the open to sky courtyards.

2. Gandhi labour institute 2. The composite movement pattern compliments the distinct spatial frames by unfolding gradually.

3. C.E.E. 3. The linear movement pattern in C.E.E. simpliﬁes the movement amidst the multifaceted spatial frames. It helps in the way-ﬁnding process while moving.

149

Comparative analysis

COMMON FACTOR: The movement pattern within these buildings diﬀers as the people tend to pause involuntarily and meander.

Comparative analysis

150

4.1.2 SEQUENCE OF MOVEMENT & PAUSE

1. GANDHI ASHRAM 1. Even though there are no physical barriers, yet the three diﬀerent pathways announce themselves due to the notable changes in the path of movement.

2. Gandhi labour institute 2. In this building also, the thresholds specifically mark the division of the different paths, hence offering various different paths and pause points. COMMON FACTOR:

3. C.E.E. 3. The thresholds speciﬁcally mark the division of the diﬀerent paths, thereby dominating the sequence of movement and the pause points.

151

Comparative analysis

The movement pattern within these buildings diﬀers as the people tend to pause involuntarily and meander.

Comparative analysis

152

4.1.1.3 ARTICULATION OF THE SPATIAL FRAMES - GANDHI ASHRAM:

The square modules with pyramidal roofs become a spatial motif in this building. The sense of layering becomes explicitly evident due to the repetition of the spatial elements.

FRAME -5

The movement through the spatial frames happens through or towards these modules.

The courtyards become iterations in these modules and become spaces for contemplation while moving.

There is a consistent similarity in the spatial elements and also similarity in the articulation of each diďŹ&#x20AC;erent spatial frame

Due to the similarity between the spatial frames, the perception of the afterimage is very strong.

The pause points and the focal points are speciďŹ cally choreographed so as to complement each other.

C 153

Comparative analysis

154

4.1.1.4 ARTICULATION OF THE SPATIAL FRAMES - GANDHI LABOR INSTITUTE:

The vaults become a spatial motif in this building. The movement through the spatial frames predominantly revolves around and through these vaulted structures. They impart a sense of harmony amidst the diﬀerent spatial frames and helps a person to associate and relate to it.

B A

Such an occurrence also helps in consistency of the after image and every time the articulation of the vault changes, it invariably becomes a pause point. There is a unique approach towards articulation of each diﬀerent spatial frame and variance amidst the spatial elements.

A B

The speed of movement is faster while walking through the long linear passages in the indoor spaces as compared to the outdoor spaces. B The duration of the pause point gets ampliﬁed on reaching the expansive laterally spread outdoor spaces.

C 155

C Comparative analysis

Comparative analysis

156

4.1.1.5 ARTICULATION OF THE SPATIAL FRAMES - C.E.E.:

The pergola along with other spatial elements becomes a spatial motif in this building. It helps a person to correlate the diﬀerent spatial frames. There is synesthetic experience while traversing through the diﬀerent spatial frames in this C.E.E. due to the similarity of the spatial elements amidst them.

A A C

In this building, the afterimage, the pause point and the focal point are explicitly evident while standing in one space.

This aspect subdues the complexity of the diﬀerent frames and thereby the movement is easily comprehendible. In this complex, there is a unique articulation of each diﬀerent spatial frame and iterations of the spatial elements.

B Every turn while walking through this complex brings on an altogether diﬀerent spatial frame.

The diversity is actually felt due to the variations in the articulation of those spatial elements which helps in making each space unique, thereby imparting a rich kinesthetic experience to the people moving through them. C 157

C Comparative analysis

Comparative analysis

158

4.1.1.6 SCALAR SEQUENCE:

4.1.1.7 APPROACH TOWARDS SYMMETRY AND CONTINUATION:

1. Gandhi Ashram - Pertinent symmetry & consistent continuity There is a pertinent symmetry and a consistent continuity due to which amidst the diﬀerent spatial frames. Hence a person gets to meander while moving through a deﬁnite path.

1. Gandhi Ashram: There is a scalar uniformity throughout the entire building due to the repetition of the similar square module, which imparts a strong sense of continuity to the people traversing through it.

2. Gandhi Labor institute - Consistent symmetry & pertinent continuity In this case the consistent symmetry, helps in retaining the continuity amidst different spatial frames. Thereby, one does not loose focus while moving through different parts of this building. 2. Gandhi Labor institute; There are significant variations in scale amidst the different spatial frames due to which, one has a different experience while walking through every space. The variance in the scale ranges from a monumental scale to a tiny one.

3. C.E.E.: Even within a single court there are variations in the scale by the staggering the diﬀerent spatial elements. .Also, there is a scalar progression from one spatial frame to the other. Hence a person traversing through these spaces invariably beneﬁts from this multiplicity.

3. C.E.E. - Inconsistent symmetry & continuity There is an inconsistence in terms of symmetry and continuation of the spatial frame as the axis continuously shifts. But due to this a person moving through these spaces has an exploratory experience.

159

Comparative analysis

160

4.1.1.8 APPROACH TOWARDS NATURAL LIGHT:

1. Gandhi Ashram - A journey from light to darkness and back The indoor spaces have been integrated with the outdoor spaces through the provision of intermediate courtyards. Hence along with points of strong contrast there is an interplay of light and shadow which encourages pauses while moving.

2. Gandhi Labor institute - A journey from darkness to light and back The indoor and the outdoor spaces have been articulated in such a way that there is a stark contrast of light between them. Hence even the experiences and the walking speed inside the building and outside the building vary considerably.

3. C.E.E. - A journey interspersed with light and shadow The intermittent play of light and shadow is one of the main reasons for the involuntary pauses while moving through the diďŹ&#x20AC;erent spaces in this building .

161

Comparative analysis

162

4.2.1.1 LEARNINGS (SPATIAL ORGANIZATION):

4.2.1.2 LEARNINGS (PAUSE POINTS & FOCAL POINTS):

Fig. 1.1.3

- Courtyards as interceptors

- Entrance pathway

- Threshold spaces dividing the path of movement

- First main pathway

- The path of movement

- Second main pathway

The spatial organization of a building should be considerate of the subsequent movement pattern. For a efficient movement in a space, there should be flexibility in the spatial organization, so as to allow the people to pause, deviate and contemplate in a particular space. This can be done by breaking down the path of movement into smaller parts, each part should be addressed separately. Long passages need some kind of interception so as to break the monotony. To do so, the introduction of different spatial elements or winding of the path proves quite helpful. Also, the threshold space act as bridges between two different spatial frames and help in stitching them both.

163

Conclusion

The sequence of movement in a space is actually determined by the probable pause points and their respective focal points along with the spatial organization of the building. The pause points and the focal points need to be specifically addressed in each different spatial frame while designing a building, so that they are in sync with each other. They are directly influenced by the after image and the succeeding frame. Every succeeding frame has a different focal point and the level of complexity or prominence of the focal point determines the time spent in that particular space.

Conclsuion

164

4.2.1.3 LEARNINGS (SPATIAL FRAMES):

4.2.1.4 LEARNINGS (SPATIAL ELEMENTS):

Pergola becomes a spatial motif in C.E.E.

Fig. 1.1.3

Recurring after image amidst the entrance promenade of Gandhi labor institute

Breaking down the entire path of movement into smaller spatial frames is essential for the creating a sequential and multi-layered experience. These frames are the views seen from the pause points. Visual coherence and inter-relativity between the diﬀerent spatial frames is also crucial for a sound kinesthetic experience in a space. The recurring afterimage helps a person to comprehend the other spaces in relation to the previous image. While the anticipation of the succeeding frame encourages the movement frontwards. Although we do not see the diﬀerent spatial layers as separate exclusive entities. But, when we move through a space the spatial elements, organizational and the natural elements shape our perception in accordance to their prominence. 165

Conclusion

The multiplicity of spatial elements adds to the complexity of a space. Yet with the repetition and iterations in similar spatial elements helps in the efficient readability of the spatial frames, while being different from each other. The relative motion of the observer and the observed objects depends on the articulation of the spatial elements in a space. The relativity between the different spatial frames is essential for an efficient flow of movement amidst those spaces. A spatial motif which is repeated in different parts of the building, helps a person to relate to different spatial frames and becomes a means of continuation of the afterimage. Merely the repetition of a single spatial motif amidst the different spaces in a building builds on the imagebaility of the building.

Conclsuion

166

4.2.1.5 LEARNINGS (GESTALT PRINCIPLES):

4.2.1.6 LEARNINGS (SCALE):

Gandhi ashram (Pertinent symmetry & consistent continuity)

Gandhi labor institute (drastic changes in scale amidst the diﬀerent spatial frames)

If the Gestalt principles are considered along with the organizational elements, the movement become more meaningful.

The variations in the scale while moving through the different spaces in the building play a significant role in shaping the kinesthetic perception of a person. The scalar progression from smaller spaces to larger spaces and vice versa also becomes an efficient tool for encouraging a person to move forward or pause.

Symmetry helps a person to retain focus amidst the diﬀerent parts in a building, thereby serving as a servient factor guiding the movement and the focal point. Also, the movement in symmetrical spaces is more rhythmic.

A feeling of grandeur can be imparted to a space by increasing its scale, while you can be humbled while moving through a small narrower space.

Good continuation is a dominant factor ensuring the movement frontward and it inﬂuences the speed of walking of a person. The spatial layering helps in breaking down the space into multiple layers, thereby helping in the continuation of the frame. Continuation and symmetry are most prominent when they are associated with the axis of movement.

167

Conclusion

Conclsuion

168

4.2.1.7 LEARNINGS (NATURAL ELEMENTS):

C.E.E. (Light & shadow and greenery dominating & guiding the movement pattern)

The natural light pervading inside a space actually sometimes, modifies the actual form of the space and gives it a different outlook. Many a times, it is the natural light pervading inside the building that creates a contrast and differentiates two similar spatial frames. Due to the presence of the natural light, the continuity in the movement is intercepted, since the light intercepts the path of movement. But this interception only enhances one’s experience while moving through a space. Even by the meticulous juxtaposition of trees, shrubs, water bodies, etc., the movement can be guided.

169

Conclusion

4.3.1 CONCLUDING NOTE: Architecture has the ability to mold the perception of the user. It can be achieved by choreographing the movement in the diﬀerent spaces in a building. Every kind of spatial organization imparts certain kinds of kinesthetic experiences which are embedded in the movement patterns within the space. Elaborate spatial organization and appropriate articulation of the spatial frames are the key to a rich kinesthetic experience in a building. By addressing each spatial frame individually and meticulously, each space gets its own unique prominence. Thereby, the movement through a passage no longer becomes a servient factor for reaching the programmatic spaces. It is the multiplicity and the juxtaposition of diﬀerent spatial and natural elements that shapes the layering of the spatial frames and in turn helps in determining the number of pauses and the time spent while moving through them.

Conclsuion

170

Books referred:  Pandya, Y. 1st edition (2005). Concepts of space in traditional Indian architecture.  Tschumi, B. and Young, R. (1994). Bernard Tschumi, the Manhattan transcripts. London: Academy Ed.  Rowe, C., Slutzky, R. and Hoesli, B. (1997). Transparency. Basel: Birkhäuser Verlag.  Boettger, T. (2014). Threshold Spaces. Basel, Switzerland: Birkhäuser.  Heidegger, M. (1971). Poetry, language, thought. New York: Harper & Row.  Arnheim, R. (2011). Art and visual perception. Berkeley: University of California Press.  Kasparowitz, L., Moursund, E., Jones, C., & Austern, M. (2017). Spatial composition. Auberry, California  Chhaya, Neelkanth; Mehta, Dinesh; Mehta, Meera; Balsawar, Durganand; Kathpalia, Rajeev and Tayyibji, Riyaz; (2014) ; Harnessing the Intangible: Collected essays on the works of Balkrishna Doshi  Chhaya, Neelkanth H.& others (2002); Kurula Varkey: commemorative monograph. Thesis referred: Dave, Priyanka, Thesis, C.E.P.T. University, Architecture as a resolute of time and space: a study of post independence architecture of ﬁve institutions of Ahmedabad  Bhavsar, Harsh, June 2017, Thesis, C.E.P.T. University, , Understanding sequences in Charles Correa’s abstraction of spaces.  Kaloloa, H., Thesis, C.E.P.T. University, Understanding the phenomenon of movement in architectural space perception. 

Websites:  https://pdfs.semanticscholar.org/1cdb/f3b82878e75fc0b2329c4c7adcc190d91d27.pdf  http://www.arkhenspaces.net/en/movement-artchitectures/  https://psydok.psycharchives.de/jspui/bitstream/20.500.11780/3591/2/Moving%20imag    

es%20and%20architekture%20%28kleiner%29.pdf https://vtechworks.lib.vt.edu/handle/10919/33437 https://mastersofmedia.hum.uva.nl/wp-content/uploads/2010/09/mcolpani-5812682master-thesis.pdf https://cumincad.architexturez.net/system/ﬁles/pdf/ca2e.content.pdf http://peopleplacespace.org/toc/section-2/

171

Conclusion