Lecture 6 - Vocabulary of Space PDF

 Outdoor spaces are
defined by enclosures.
Spatial dimensions are
reinforced by light,
color, texture, and
detail. A freedom to
“deceive” is given the
designer.
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Reference: http://www.fopple.com/more-outdoor-space-of-modern-evanshouse/
 Trees, hedges,
buildings, and
landforms define
outdoor spaces, but
these spaces are rarely
completely enclosed
and are only partially
bounded.
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Reference: http://arcadiasbest.com/wp-content/uploads/GoldLineTransitPlazaDesign11-4-10.jpg, http://sf.streetsblog.org/wp-content/uploads/2009/08_06/Showplace_triangle_rebar_1_small.jpg
 Trees, hedges,
buildings, and
landforms define
outdoor spaces, but
these spaces are rarely
completely enclosed
and are only partially
bounded.
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 Spaces may be enclosed by opaque
barriers and by semitransparent or broken
walls. Space definers may be visual
suggestions rather than visual stops like
bollards, colonnades, changes in ground
patterns, rows of trees, and shrubs.
Buildings were the traditional enclosers of
urban space.
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 Spatial character
varies with
proportion and
scale
 Scale is the
relationship of
size to the size of
the other objects.
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Reference: http://thechive.files.wordpress.com/2010/12/out-of-proportion-animals-5.jpg?w=500&h=600
 Proportion is the internal
relationship of parts that may be
studied in a model. Relationship of
the parts to the whole.
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 Proportion is the internal
relationship of parts that may be
studied in a model. Relationship of
the parts to the whole.
 Golden Ratio:
1:1.618
 The appearance of a space is also modified by:
 the activity that goes on within it,
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 the way one passes through it,
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 color and texture of the walls and floor,
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 the lighting,
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 furnishings used.
13
 Space-defining is the art of
landscape enclosure. There are
various materials, natural and
man-made, used to separate and
delineate one space from another.
 These include:
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Reference: http://bayerbecker.com/sites/default/files/Landscape%20Architecture%20and%20Planning00001.jpg
 A. Plants and trees – for space
defining, screening against views
and against the wind;
 hedges are an alternative to
fences for physical enclosure and
walls for both physical and visual
enclosure.
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Reference: http://bayerbecker.com/sites/default/files/Landscape%20Architecture%20and%20Planning00001.jpg
 B. Walls – can form
complete physical and
visual barriers that last
very long. These are
used as an alternative to
fences and hedges.
Varying heights also
serve various purposes:
 higher than eye level –
form complete physical
and visual barrier
16
Reference: http://inhabitat.com/largest-green-wall-in-north-america-to-be-unveiled-tomorrow/, http://wpcwallpanel.com/wp-content/uploads/2013/03/fence-
panel.jpg
 below eye level but still
providing visual
obstruction – partial
enclosure, alternative to
hedges or fences
17
Reference: http://inhabitat.com/largest-green-wall-in-north-america-to-be-unveiled-tomorrow/, http://wpcwallpanel.com/wp-content/uploads/2013/03/fence-
panel.jpg
 dwarf walls – used where strong
physical barrier of architectural
quality is required as an alternative
to hedges or fences
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Reference: http://www.hdpropertyservices.com/images/gallery4/conservatory-build-1-03-2.jpg, http://sozluk.insaatbolumu.com/wp-content/uploads/istinat_duvari_1.jpg
 retaining walls – used to form
changes in level and is an
alternative to land shaping.
19
Reference: http://www.hdpropertyservices.com/images/gallery4/conservatory-build-1-03-2.jpg, http://sozluk.insaatbolumu.com/wp-content/uploads/istinat_duvari_1.jpg
 Fences and railings – prime use is
as a barrier; only a few types of
fence provide visual screening.
20
Reference: http://www.burgerfence.com/sitebuildercontent/sitebuilderpictures/900rail_pic6.jpg, http://www.guardianfencing.com/images/imagesold/bollards6large.jpg
 Bollards – free-standing object which are
one of the unobtrusive ways to prevent
access. It does not have any great height
and have no horizontal line across the
scene. Common uses include:
 preventing cars from encroaching on
pedestrian areas by narrowing a space
 marking property boundaries and
protection of property
 used as a lighting fixture
21
Reference: http://www.burgerfence.com/sitebuildercontent/sitebuilderpictures/900rail_pic6.jpg, http://www.guardianfencing.com/images/imagesold/bollards6large.jpg
 The shape of a space is
conveyed by the sense of
sight, sound, smell, and
touch.
 The first sensuous
experience of space is a
spatial one – the
perception of volume of air
that surrounds the
observer through the eyes,
ears, and skin.
22
 The shape of a space is
conveyed by the sense of
sight, sound, smell, and
touch.
 The first sensuous
experience of space is a
spatial one – the
perception of volume of air
that surrounds the
observer through the eyes,
ears, and skin.
23
 Visual presence is seen by sight,
touch, and hearing.
 For example, the absence of an
echo would give the impression of
extended openness to the observer.
 Visual presence is reinforced if it
reflects sound, looks rough to the
touch or radiates heat. Even a
particular smell may help identify a
place.
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touch, and hearing.
 For example, the absence of an
echo would give the impression of
extended openness to the observer.
 Visual presence is reinforced if it
reflects sound, looks rough to the
touch or radiates heat. Even a
particular smell may help identify a
place.
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touch, and hearing.
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 The microclimate is a marked feature of a place: it will be
remembered as cool and moist, hot, bright, windy, or warm and
sheltered. These sensations of light, sound, smell, and touch
may be exploited by the designer.
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 These details are usually man-made.
 The user is affected, whether directly or indirectly, by site details.
 He may see a light but not the lamp post.
 These details affect the appearance of the whole, and must be thought of
properly. It requires investment of design and supervision to ensure the
desired effect on the site and the user.
 These site details, or furniture, will include:
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 SEATS
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 SEATS
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 TRAFFIC SIGNALS
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 TRAFFIC SIGNALS
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 UTILITY POLES
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 UTILITY POLES
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 SIGNS
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 SIGNS
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 TRASH CANS
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 TRASH CANS
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 TRASH CANS
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 TRASH CANS
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 TRASH CANS
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 MANHOLES
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 MANHOLES
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 MANHOLES
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 MANHOLES
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 WIRES
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 WIRES
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 WIRES
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 WIRES
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 LIGHTS
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 LIGHTS
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 LIGHTS
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 LIGHTS
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 LIGHTS
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 LIGHTS
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 LIGHTS
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 PLANT CONTAINERS
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60
61
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 ALARMS
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 ALARMS
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 STALLS
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 STALLS
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 STALLS
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 TELEPHONES
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 TELEPHONES
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 TELEPHONES
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 BOLLARDS
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 BOLLARDS
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 BOLLARDS
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 BOLLARDS
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 WAITING SHEDS
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 WAITING SHEDS
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 WAITING SHEDS
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 WAITING SHEDS
UP Gateway
Napoleon Abueva
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 NOTICE BOARDS
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 NOTICE BOARDS
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 NOTICE BOARDS
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 Other details such as sculptures and fountains are solely visual
and symbolic.
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Modern fountain, Portland
- more electrifying work in changing the ambiance of
busy downtown areas into something more compelling and
interesting for plain old people.
Chicago’s Liquid Mercury inspired sculpture

- The sculpture reflects the Chicago skyline, the clouds
and sky above with the “gate” being the arch underneath.
83
Reference: http://blogs.chemistrycentral.com/ccblog/2007/04/03/chicagos-liquid-mercury-inspired-sculpture/, http://www.stevesnedeker.com/2012/urban-and-modern-waterfalls-iras-fountain-portland-oregon.html
Captivity Nude Bathing
Ildefonso Marcelo Ildefonso Marcelo
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Contemplation
Ildefonso Marcelo
Rajah Sulayman
Anastacio Caedo
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The Oblation
Napoleon Abueva
Tribute to Higher Education (1)
Napoleon Abueva
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Henry Wollman Bloch Fountain, in front of Union King Fahd's Fountain – Jeddah, Saudi Arabia
Station, at W. Pershing Road at Main Street.
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Entrance to the Swarovski headquarters in Rome's largest fountain, the Fontana di Trevi
Wattens, Austria
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 Outdoor spaces are

Chicago’s Liquid Mercury inspired sculpture

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