The Architecture of Space
Stuttgart City Library interior by Frank Karlitschek
For some, the art of creating architecture is that of providing structure, shelter and definition to the world we inhabit. For others, it is the means of designing space. Most frequently this is occupiable space: a room, a garden, a hall, a cupboard... But what is this space?

Although it requires architecture to be able to create tangible ‘space’, ironically it is in fact the open area, the volume, between the structural elements that are created in or around a building. A negative between the positive solids. What is seen visually is not the space itself, but the defined boundaries. The walls, ceilings, floors, shadows, beams of light, textures of the fabrics. These all define the boundaries rather than the space. 

The nature of the human eye and perspective can result in optical illusions which change the understanding of spatial boundaries and the space within – but this stretches beyond the purpose of this article which is to look at how we experience the space itself and how architects use space, along with light and materials, to enhance our environments and even affect our mood.
Ryerson University Student Learning Centre. Credit: Lorne Bridgman
Buildings not only perform a function, they must also fulfil that function from a users perspective. And much of that involves us in the experience of space at a sensory level.  In previous Architectural Digests we have looked at the importance of buildings for our well-being. And however beautifully and aesthetically designed a building is, if it does not enable a healthy flow of clean air, keep its occupants comfortably warm or enable an easy flow of movement within the internal and external spaces, then it cannot satisfy nor succeed as an encapsulated space.

The nature – or function - of the space frequently dictates the nature of the movement. A long, narrow corridor will facilitate passage through but limited encouragement to linger whereas a large hall offers much more variation in movement or stasis. Movement from one space to another can equally affect experience – movement from a small space to a large space can inspire sensations or awe or freedom while movement from a large to a small space could be either comforting or threatening. 

Sounds fill the space and can provide just as important an experience of the space as visual aids. Sound waves reflect off surfaces, defining the hardness of the boundary while the amount of reverberation – the echo - indicates the volume of the space. 
Bridge of Aspiration - a footbridge linking the Royal Ballet School and the Royal Opera House in Covent Garden
Scent is a frequently overlooked aspect of design but can be used to identify the purpose of the space – the scent of freshly baked bread or freshly poured coffee define the kitchen, associated shop or dining area; the scent of flowers enhances the understanding of a garden. 

Feeling the temperature of a space is a primary factor in our experience of that space. Air movements can often be identified and used to enhance or detract from the space and can be utilised by visually impaired users as navigational aids.

Of course, spatial experiences won’t all be positive: room acoustics can provide inappropriate volumes or confusing noises that hinder conversation or impair navigational clarity for occupiers who cannot rely entirely on their vision. Extreme lighting can provide glare that restricts the ability of those who rely on vision to effectively move about or carry out their work. Very intense scents can be unpleasant; temperature extremes equally so.
Within a larger space, smaller areas can be identified by changes in boundary conditions – different colours or textures, or by the introduction of level changes in the floor or ceiling. These variations are keenly visible to occupiers who are able to see but are much harder to perceive by occupiers who rely on their other senses.

As with just about everything in life, how we experience architectural space is an incredibly personal thing, and frequently something we are not aware of. Changes in climatic conditions, our own moods can influence our perceptions and experiences. 

Dr Raymond Lucas, head of architecture at Manchester University, adds: ‘Building design is complex, and it is impossible to predict everything about a space before it is built.’
Recommended Reading
Architecture - Form, Space, and Order by Francis D. K. Ching
For more than forty years, the beautifully illustrated Architecture: Form, Space, and Order has served as the classic introduction to the basic vocabulary of architectural design.
The updated and revised Fourth Edition features the fundamental elements of space and form and is designed to encourage critical thought in order to promote a more evocative understanding of architecture.
The book explains form and space in relation to light, view, openings, and enclosures and explores the organisation of space and the elements and relationships of circulation as well as proportions and scale.

Next Month:

The challenges and rewards of refurbishment
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