BASIC DESIGN II

ARCG 120 – 22-23 – SEM II

Department of Architecture and Interior Design
College of Engineering
University of Bahrain
MAIN TOPICS

LECTURE 05
LECTURE 01

LECTURE 02

LECTURE 04

LECTURE 06
LECTURE 03
COLOR VISUAL TEXTURE FORM & SPACE ANTHRO- CIRCULATION
PERCEPTION POMETRY &
SCALE
MAIN TOPICS

LECTURE 03

LECTURE 05
LECTURE 01

LECTURE 02

LECTURE 04

LECTURE 06
COLOR VISUAL TEXTURE FORM & SPACE ANTHRO- CIRCULATION
PERCEPTION POMETRY &
SCALE
Circulation
LECTURE 06
we experience a space in relation to where we’ve been
and where we anticipate going…
It is the path of movement that links a series of interior
or exterior spaces together.

We move in time
Through a sequence
Of spaces

Circulation space is a positive space that affects the way

we perceive the form & space of a building
Circulation elements
Approach:
The distant view

Entrance:
From outside to inside

Configuration of the path:

The sequence of spaces

Path-space relationship:
Edges, Nodes and termination of the path

Form of the circulation space:

Corridors, Halls, Galleries, Stairways and Rooms
 1. APPROACH
Coming close to a building through a path

We are prepared to see, experience and use the

spaces of a building.

Can be few short or very long in duration

Approach can contrast with its termination,

OR
May continue into the building spaces, obscuring
the inside and outside separation.

Approach to Notre Dame Du Haut, Ronchamp,

France, 1950–55, Le Corbusier
 Approach configurations
Frontal:

Oblique:

Spiral:
Approach configurations
Frontal:

◦ Leads directly to the entrance through a straight axial path.

◦ The visual goal is clear. Villa Barbaro, Maser, Italy, 1560–68, Andrea Palladio
It may be the entire front facade of a building
or an elaborated entrance within the plane

Qian Men, Link between the Forbidden City to the north and the Outer City to the south in Beijing, China, 15th century
Buseoksa Temple, Gyeongsangdo, Korea, A.D. 676–1000
Portals & gateways
uses

Orienting

Welcoming

guarding
Approach configurations
Oblique:
◦ Affects the building perspective.
◦ The path can be redirected one or more times to delay
and prolong the sequence of the approach.
◦ If the approach angle is extreme, the building’s entrance
can be projected to make it more visible

Glass House, New Canaan, Connecticut, 1949, Philip Johnson

 Approach configurations
Spiral:
◦ prolongs the sequence of the approach
◦ emphasizes the three-dimensional form of a building
◦ The building entrance might be viewed intermittently
during the approach to clarify its position or it may be
hidden until the point of arrival.
Ramp into and through the Carpenter Center for the Visual Arts, Harvard
University, Cambridge, Massachusetts, 1961–64, Le Corbusier
2. Entrance
One can enter :
◦ a building,
◦ a room within a building
◦ a defined field of exterior space

Entering involves penetrating a vertical plane that distinguishes one space from another and
separates ”here” from “there.”
 Entrances
Entrance can be subtle or predominant depending on the
required visual and spatial continuity.

An entrance can be:

◦ A hole in a wall.
◦ A passage through an implied plane established by two pillars or an
overhead beam.
◦ A change in level (threshold – perceived entrance-).

The form of the opening can range from a simple hole in the wall
to an elaborate, articulated gateway.

Strongest signified entrance are the ones perpendicular to the

path of the approach.
 Form of the entrance:
1. Flush:
◦ maintains the continuity of the surface of a wall.
◦ can be, if desired, deliberately obscured.

2. Projected:
◦ forms a transitional space.
◦ announces its function.
◦ provides overhead shelter.

3. Recessed:
◦ provides shelter .
◦ receives a portion of exterior space into the realm of the
building.
The form of the entrance can be similar to the
form of the space being entered, hence, serve
as a preview of it.

It can contrast with the form of the space to

reinforce its boundaries and emphasize its
character as a place.
The notion of an entrance can be visually reinforced by:
◦ making the opening lower, wider, or narrower than anticipated
◦ making the entrance deep or circuitous
◦ articulating the opening with ornamentation or decorative embellishment
 3. CONFIGURATION OF THE PATH
paths are linear in nature (whether of people, cars, goods,
or services).

paths have a starting point, from which we are taken

through a sequence of spaces to our destination.

The contour of a path depends on our mode of

transportation to accommodate turning radiuses (walking,
bicycle, car).

while a wheeled vehicle require smoother path , the width

of the path can be tailored tightly to its dimensions.

Pedestrians, can have a rugged path, but they need more

width of circulation space around them and need a greater
freedom of choice along a path.
 Path intersections:
point of decision-making

The continuity and scale of paths gives cues to major routes

leading to major spaces and secondary paths leading to
lesser spaces.

When crossing paths are equivalent to each another,

sufficient space should be provided to allow people to pause
and orient themselves.

The form and scale of entrances and paths should also

convey the functional and symbolic distinction between
public promenades, private halls, and service corridors.
The nature of the configuration of a path both influences and is
influenced by the organizational pattern of the spaces it links.

The configuration of a path may reinforce a spatial organization by

paralleling its pattern.

OR it can contrast with it to serve as a visual counterpoint to it.

Once we are able to map out in our minds the overall configuration of the paths in a building, our
orientation within the building and our understanding of its spatial layout will be made clear.
1. Linear All paths are linear.
• A straight path can be the primary organizing element for a
series of spaces.
• It can be curvilinear or segmented, intersect other paths, have
branches, or form a loop.
2. Radial: has linear paths extending from or terminating at a central, common
point.
3. Spiral: a single, continuous path that originates from a central point, revolves
around it, and becomes increasingly distant from it.

4. Grid: consists of two sets of parallel paths that intersect at regular intervals
and create square or rectangular fields of space.

5. Network: consists of paths that connect established points in space.

6. Composite: In reality, a building normally employs a combination of the patterns.
Important points along the path:
◦ centers of activity
◦ entrances to rooms and halls
◦ places for vertical circulation (stairways, ramps, and elevators).
Circulation nodes punctuate the paths of movement through a building and provide
opportunities for:
Pause
Rest
Orientation
To avoid the creation of a disorienting maze, a hierarchical order among the paths and nodes of
a building should be established by differentiating their scale, form, length, and placement.
 4. PATH–SPACE RELATIONSHIPS
Pass by Spaces:
The integrity of each space is maintained.
The configuration of the path is flexible.
Mediating spaces can be used to link the path with the spaces.

Pass through Spaces:

The path may pass though a space axially, obliquely, or along its edge.
In cutting through a space, the path creates patterns of rest and
movement within it.

Terminate in a Space:
The location of the space establishes the path.
This path-space relationship is used to approach and enter functionally
or symbolically important spaces.
 5. FORM OF THE CIRCULATION SPACE
Circulation spaces are an integral part of any building
organization and occupy a significant amount of its
volume.

If considered merely as functional linking devices,

then circulation paths would be endless, corridor-like
spaces.

The form and scale of a circulation space, should

accommodate the movement of people as they
promenade, pause, rest, or take in a view along a
path.
 The form of a circulation space varies
according to how:
Its boundaries are defined
Its form relates to the form of the spaces it links
Its qualities of scale, proportion, light, and view are
articulated
Entrances open onto it
It handles changes in level with stairs and ramps.
 5. FORM OF THE CIRCULATION SPACE
1. Enclosed:
forming a public galleria or private corridor that relates to the
spaces it links though entrances in a wall plane

2. Open on One Side:

forming a balcony or gallery that provides visual and spatial
continuity with the spaces it links.

3. Open on Both Sides:

forming a colonnaded passageway that becomes a physical
extension of the space it passes through.
The width and height of a circulation space should be proportionate with the type and amount of
movement it must handle.

A distinction in scale should be established between a public promenade, a more private hall, and a
service corridor.
To accommodate more traffic as well as to create spaces for pausing, resting, or viewing,
sections of a path can be widened.
The path can also be enlarged by merging with the spaces it passes through.
Within a large space, a path can be random, without form or definition, and be determined by
the activities and arrangement of furnishings within the space.
 Stairs and stairways
Provide vertical movement.

Functionally:

The slope of, determined by the dimensions of the

risers and treads should be proportioned to fit our
body movement and capability.

The width should be enough to accommodate

passage of people and furniture.
 Stairway configuration:
◦ straight-run stair
◦ L-shaped stair
◦ U-shaped stair
◦ circular stair
◦ spiral stair
 Stairways forms and locations
Additive form.
Running along one of the edges of a room,
Wrapping around the space.
Woven into the boundaries of a space.
Extended into a series of platforms for
seating or terraces for activity.
 Psychological cues of stairways
The width of a stairway also provides a visual clue to the public or private nature of it.
Wide, shallow steps can serve as an invitation, while a narrow, steep stairway can lead to
more private places.
Traversing up a stairway may convey privacy, aloofness, or detachment.
Going down can imply moving toward secure, protected, or stable ground.

If steep:
◦ ascent can be physically tiring
◦ Ascent can be psychologically forbidden
◦ Descent can be precarious (scary and time consuming).

Narrow and wall defined stairs can provide access to a private place or signify
unapproachability.
Landings visible on approach invite ascent
Treads that spill out at the bottom of a stairway invite ascent.
Narrow enclosed corridors naturally encourages forward motion.
 Emphasizing the three dimensional
sense of space

Stairway as a freestanding sculpture

Space as an oversized elaborated stairway.