Chapter Summaries

Space within a Space

A space may be contained within the In this type of spatial relationship, the
volume larger, enveloping space serves as a
of a larger space. three-dimensional field for the smaller
space contained within it. For this
Interlocking Spaces concept to be perceived, a clear
The field of a space may overlap the differentiation in size is necessary
volume of between
another space.
the two spaces. If the contained space
Adjacent Spaces were to increase in size, the larger
Two spaces may abut each other or space would begin to lose its impact as
share a an enveloping form.
common border.

Spaces Linked by a Common Space

Two spaces may rely on an
To endow itself with a higher
intermediary
attention-value, the contained space
space for their relationship.
may share the form of the enveloping
shape, but be oriented in a different
Space Within a Space
manner.
A large space can envelop and contain a
smaller space within its volume. Visual
and spatial continuity between the two
The contained space may also differ in
spaces can be easily accommodated,
form from the enveloping space in
but the smaller, contained space
order to strengthen its image as a
depends on the larger, enveloping
freestanding volume.
space for its relationship to the exterior
environment.
Interlocking Spaces space to be clearly defined and to
An interlocking spatial relationship respond, each in its own way, to
results from the overlapping of two specific functional or symbolic
spatial fields and the emergence of a requirements.
zone of shared space. When two spaces
interlock their volumes in this manner,
each retains its identity and definition
as a space. The separating plane may:
• limit visual and physical access
between two adjacent spaces, reinforce
the individuality of each space, and
The interlocking portion of the two
accommodate their differences.
volumes can
• appear as a freestanding plane in a
be shared equally by each space.
single volume of space.
• be defined with a row of columns that
allows a high degree of visual and
spatial continuity between the two
spaces.
The interlocking portion can merge
• be merely implied with a change in
with one of the spaces and become an
level or a contrast in surface material or
integral part of its volume.
texture between the two spaces. This
and the preceding two cases can also be
read as single volumes of space which
The interlocking portion can develop are divided into two related zones.
its own integrity as a space that serves
to link the two original spaces. Spaces Linked by a common space
Two spaces that are separated by
distance can be linked or related to each
other by a third, intermediate, space.
Adjacent Spaces
The visual and spatial relationship
Adjacency is the most common type of
between the two spaces depends on the
spatial relationship. It allows each
nature of the third space with which
they share a common bond. The form of the intermediate space can
be residual in nature and be determined
solely by the forms and orientations of
the two spaces being linked.

The two spaces, as well as the

intermediate space, can be equivalent
in size and shape and form a linear
sequence of spaces. Spatial Organizations

The intermediate space can itself

become linear in form to link two
spaces that are distant from each other,
or join a whole series of spaces that
The following section lays out the basic
have no direct relationship to one
ways we can arrange and organize the
another.
spaces of a building. In a typical
building program, there are usually
requirements for various kinds of
spaces. There may be requirements for
The intermediate space can, if large
spaces that:
enough, become the dominant space in
• have specific functions or require
the relationship, and be capable of
specific forms
organizing a number of spaces about
• are flexible in use and can be freely
itself.
manipulated
• are singular and unique in their
function or significance to the building
organization
• have similar functions and can be
grouped into a functional cluster or Circulation: Movement Through Space
repeated in a linear sequence The path of our movement can be
• require exterior exposure for light, conceived as the perceptual thread that
ventilation, outlook, or access to links the spaces of a building, or any
outdoor spaces series of interior or exterior spaces,
• must be segregated for privacy together.
• must be easily accessible Since we move in Time
through a Sequence
Centralized Organization of Spaces,
A central, dominant space about which
a number of secondary spaces are Circulation Elements
grouped Approach
• The Distant View
Linear Organization
A linear sequence of repetitive spaces Entrance
• From Outside to Inside
Radial Organization Configuration of the Path
A central space from which linear • The Sequence of Spaces
organizations of space extend in a
radial manner Path-space Relationships
• Edges, Nodes, and Terminations of
Clustered Organization the Path
Spaces grouped by proximity or the
sharing of a common visual trait or Form of the Circulation Space
relationship • Corridors, Halls, Galleries, Stairways
and Rooms
Grid Organization
Spaces organized within the field of a Approach
structural grid or other Frontal
three-dimensional framework
A frontal approach leads directly to the
entrance of a building along a straight,
axial path. The visual goal that The act of entering can be signified in
terminates the approach is clear; it may more subtle ways than punching a hole
be the entire front facade of a building in a wall. It may be a passage through
or an elaborate entrance within the an implied plane established by two
plane. pillars or an overhead beam.

Oblique
An oblique approach enhances the
In the normal situation where a wall is
effect of perspective on the front facade
used to define and enclose a space or
and form of a building. The path can be
series of spaces, an entrance is
redirected one or more times to delay
accommodated by an opening in
and prolong the sequence of the
the plane of the wall.
approach.

Spiral
A spiral path prolongs the sequence of Regardless of the form of the space

the approach and emphasizes the being entered or the form of its

three-dimensional form of a building enclosure, the entrance into the space

as we move around its perimeter. is best signified by establishing a real

or implied plane perpendicular to the
path of the approach.

Entrance Configuration of Path

Entering a building, a room within a All paths of movement, whether of

building, or a defined field of exterior people, cars, goods, or services, are

space, involves the act of penetrating a linear in nature. And all paths have a

vertical plane that distinguishes one starting point, from which we are taken

space from another and separates through a sequence of spaces to our

”here” from “there.” destination. The contour of a path

depends on our mode of transportation. themselves. The form and scale of
While we as pedestrians can turn, entrances and paths should also convey
pause, stop, and rest at the functional and symbolic distinction
will, a bicycle has less freedom, and a between public promenades, private
car even less, in changing its pace and halls, and service corridors.
direction abruptly. Interestingly
though, while a wheeled vehicle may
require a path with smooth contours
that reflect its turning radius, the width
of the path can be tailored tightly to its
dimensions. Pedestrians, on the other
hand, although able to tolerate abrupt The nature of the configuration of a

changes in direction, require a greater path both influences and is influenced

volume of space than their bodily by the organizational pattern of the

dimensions and greater freedom of spaces it links. The configuration of a

choice along a path. path may reinforce a spatial

organization by paralleling its pattern.
Or the configuration may contrast with
the form of the spatial organization and
serve as a visual counterpoint to it.
The intersection or crossing of paths is Once we are able to map out in our
always a point of decision-making for minds the overall configuration of the
the person approaching it. The paths in a building, our orientation
continuity and scale of each path at an within the building and our
intersection can help us distinguish understanding of its spatial layout will
between major routes leading to major be made clear.
spaces and secondary paths leading to
lesser spaces. When the paths at a
crossing are equivalent to each other,
1. Linear
sufficient space should be provided to
allow people to pause and orient
All paths are linear. A straight path, Pass by Spaces
however, can be the primary organizing • The integrity of each space is
element for a series of spaces. maintained.
2. Radial • The configuration of the path is
A radial configuration has linear paths flexible.
extending from or terminating at a • Mediating spaces can be used to link
central, common point. the path
3. Spiral with the spaces.
A spiral configuration is a single,
continuous path that originates from a Pass through Spaces
central point, revolves around it, and • The path may pass through a space
becomes increasingly distant from it. axially, obliquely, or along its edge.
4. Grid • In cutting through a space, the path
A grid configuration consists of two creates patterns of rest and movement
sets of parallel paths that intersect at within it.
regular intervals and create square or
rectangular fields of space. Terminate in a Space
5. Network • The location of the space establishes
A network configuration consists of the path.
paths that connect established points • This path-space relationship is used
in space. to approach and enter functionally or
6. Composite symbolically important spaces.
In reality, a building normally employs
a combination of the preceding Proportion and Scale
patterns. Important points in any
pattern are centers of activity,
entrances to rooms and halls, and
places for vertical circulation provided
by stairways, ramps, and elevators.

While scale alludes to the size of

Path-Space Relationships
something compared to a reference
standard or to the size of something
else, proportion refers to the proper or
harmonious relation of one part to
another or to the whole. This
relationship may not only be one of
magnitude, but also of quantity or
degree. While the designer usually has a
range of choices when determining the
proportions of things, some are given
to us by the nature of materials, by how
building elements respond to forces,
and by how things are made.