EXTERNAL or INTERNAL ‘REVEALS’ of OPENINGS

Post 685 –by Gautam Shah

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Walls are chiefly load bearing entities. The thickness is the third dimension to the nominal planner structure. The third dimension has a functional depth, and architectural character. The Architectural expression of the wall-depth modulates the facade and gives a massing flavour. The functional depth frames the view, and regulates the illumination in the interior space.

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Openings in thicker walls have external or internal ‘reveals’ surrounding the frame. The bottom section forms the ledge of the sill. Openings placed on the outer face create deep an inner side or intrados (originally intrados meant, the inner curve of an arch or vault). Similarly openings placed on the inner edge form exterior side or extrados (originally extrados meant, the outer curve of an arch or vault).

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The deep interior sides, ifsquare-edged (at a right angle to plane of the window), made the perceived size of the opening smaller, then it actually is. This type of setting on interior sides, was not a major issue, where the room spaces were comparatively narrow, and so reflection from opposite walls was available. The narrow spaces were due to the technological restrictions and for functional requirements, such as in long halls and church buildings. In squared buildings the illumination was balanced from windows in the drum perimeter of the dome.

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The deep exterior sides, if square-edged (at a right angle to plane of the window), made the perceived size of the opening smaller, a desired arrangement to enhance the wall area and de-emphasize the presence of gaps of openings. It reduced the ingress of winds and snow-rainwater. To emphasize the presence of gaps, portals were added as the opening’s treatments.

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The square’ edged openings have high contrasting brightness. Such windows require counter illumination to reduce the glare. To distribute the light better in the interior space, inner sides (-intrados with the window fixed on the outer edge) and an outer side (-extrados with the window fixed on the inner edge) were splayed by chamferring. The angled side surface was further carved, fluted with ornate borders or architraves.

1 3 M thick walls and chamferred internal edges of Guard room at Burg Meersburg on Lake Constance in southern Germany Wikipedia Image by Tobyc75

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Inner vertical sides, window heads and the sill, all were sloped to enlarge the reflective surface area. The chamferred sides on the outer face allowed more light by increasing the sky component, and allowed wider view of the outside.

20 Murals need evenly distributed illuminated wall Basilica di Sant Apollinare in Classe Wikipedia Image by Flying Russian

The effects of square and the chamferred sides of openings were well known to the mural artists (working with different mediums such as tempera, mosaic and frescoes painting), who accordingly composed the stories, shading in the scene, perspective angle, colour’s  hue and tone of artwork.

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In Romanesque and early Gothic architecture the windows were fixed on inner face, creating a plain and undisturbed interior surface. But by the time this was perfected, the Gothic walls were completely diminished, and windows were as wide as the gap between two columns.

Stained Glass in Windows

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Side walls of Gothic buildings became thinner due to the arrangement of flying buttresses and use of load-bearing columns. But the same advantage was not available in case of un-buttressed Front wall. The entrance doors of Gothic churches were flush-set on the inner face, and that allowed better view across and fuller distribution of light. But the doors set deep in the thick walls, needed chamferring with serrated sides.

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In Baroque architecture the depth of opening was concealed with the projected facade elements like columns, pilasters, cornices, or pediments. In Italian Renaissance the facade had an applique lattice like a pattern that united several openings. In post medieval period, windows began to protrude out of the buildings, over into the narrow street. Bay and oriel windows, Mashrabiya openings in the middle East, and Zarokhas in India transgressed out, mainly to gain sideways view and air. The multi sided mass of the projection became a personal statement.

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In post medieval period, window projections created serious fire hazards and issues of encroachment of public lands. Both of these were corrected through improved fire laws and defined easement rights. Fire laws required windows to be within the wall (without any projections like ledges or hanging shutters). Later the Window tax curtailed the number of openings in a building.

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Gothic architecture had already shown how to divide large openings with traceries of mullions and muntins. Large windows in thin walls require framing and masking, but small depth did not allow formation of integrated architectonic elements, or scooping out for niche creation. Architectural add-on elements such as half columns, extrados, porticoes, etc. were additives placed to frame and highlight the opening.

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The surface of the window was strongly stated by articulated divisions, contrasts between glazed and other surfaces like rusticated masonry. Windows were also placed in inward or sunken bays. The mid-wall between the windows was treated as very shallow niche or bordered frame for murals, paintings or placing a fireplace or library cabinet. Building’s facades of thin walls were also undulated by outward bay windows, ledges and other projections.

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Thick walls accommodate the shutters of doors and windows within the gap. But shallow window gaps offer no shading. Some form of external shading system is required. Such shading systems have been used for creating architectural facade system, as in Chandigarh Secretariat building.

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Glass curtain walls are thin body construction, often without any projections for solar protection. This now sought through the glass technology, and the ventilation through separate HVAC system. Thin walls save floor space, and so are economic in spite of the compulsory recourse to other compensatory facilities. The nominal architectural play of depth and shadows for 3rd dimensional visual depth is not available with openings in very thin walls. This is now recreated by volumetric play of the building mass, or by variegated surface finishes. For such surface modulation, other means include visual reflectance and glows (illumination from within).

Modern Windows Exterior Building Architecture

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The vividness of stained glass windows or the colourful lanterns of Gothic eras are now recreated through see through LED glass. At another level the touch screen provides the same fare. The mix of the two will become part of architectural and interior face of buildings.

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BMR and BODY TEMPERATURE

Post 680 –by Gautam Shah

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37th Annual Yokota Striders Frostbite Race

BMR: Basal Metabolic Rate is the amount of energy (metabolism-calories) per unit of time that a person needs to keep the body functioning, at rest. The ‘rest’ or body sustenance functions include breathing, blood circulation, controlling body temperature, cell growth, brain and nerve. The basal metabolic rate accounts for about 60 to 75% of the daily calorie expenditure by individuals. About 20% of energy expenditure comes from physical activities and another 10% from digestion of food. It is influenced by several factors, such as the age, gender, degree of acclimatization, posture and state of health. The primary organ responsible for BMR regulating metabolisms is the hypothalamus.

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Our body functions as a thermo equilibrium system, with upper limits of bearing is 52° C, and lower limits of 3° C. A body may endure or adopt to certain abnormal conditions for a period of time, but there may occur side effects. The side effects may be realized in a different form and at a different time. In certain acute work conditions like mines, metal smelting plants, textile plants, cold storage, the levels of efficiency or productivity depend on the endurance level and adaptability of the body.

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The human body has many minor variations, but an average temperature of 37° C. Body temperature is highest in the evening and lowest in the morning (+or- range of 1° C.) energy expenditure of the body is different for endothermic animals and fish or reptiles. In reptiles and amphibia heat regulation mechanisms is absent. Their body temperature rises or falls with the atmospheric temperature. Hence they are called cold-blooded animals. In abnormal temperature conditions they regulate the body temperature by suitable habitat like burrowing and hibernation.

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Infant

Infants have a very imperfect mechanism for regulation of body temperature. A fit of crying may elevate and a cold wash may lower the body temperature. Aged persons have a low metabolism, and so maintain a lower body temperature. It takes much longer for an aged person to gain or dissipate body heat. Female body temperature is slightly lower than male. High protein foods increase the body temperature. The act ingestion and food digestion and exercise raises the body temperature. Atmospheric conditions like, temperature, humidity and movement of air, affect the efficiency of heat exchange from the body, and so the body temperature.

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There are three types of heat generating processes in the human body. Conversion of food matter into useful energy, Muscular activities, and Certain infections and dysfunctions within the body, elevates or lower the body temperature by extra ordinary rate. Many physical, chemical and bacterial agents disturb the heat regulation mechanism and cause fever. These may be due to increased heat production or reduced heat loss, or both.

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CORNERS and Neighbourhoods

Post 678–by Gautam Shah

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This is the 3 rd article of series: ‘CORNERS’.

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Neighbourhood is a realm of certain scale, resilient extent, variable sensorial reach, activities, intra-personal contacts, diverse implications and ever-revealing spatial character. Neighbourhoods have no particular pattern or shape. There is no formal arrangement of spatial entities, like buildings and objects. The spatial entities, building and objects remain static, but the mediating spaces carry different personal relevance and meaning. The neighbourhood represents a sentiment of people formed by the spatial character. The character, where small changes are noted and relished.

Lisbon Street Image by Paulo Guedes (1886–1947)

1 The scale in the neighbourhood is defined by the sensorial reach of the person such through the physical reach capacity, vehicles or means of conveyance, routing, climate, obstructions and the linkages such as bridges, access conditions etc.

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2 The extent of Neighbourhood is a resilient factor, because the reach capacities and needs are personal and so different. Senior citizens cover only that distance, which can be traversed back. A road with high density traffic reduces the spread of a neighbourhood.

3 The Sensorial reach is variable as it relates to the perception faculties like touch, smell, taste, see and listen. A child is required to be within the visual field, but a little older one can stretch it to distance of shout call.

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4 Activities in neighbourhoods, have an excuse and purpose, as these manifest due to people, space, and season. These are as casual as calling on new settlers and offering help, introductions and directions, or formal like parties and celebrations.

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5 Intra-personal contacts flourish at spatial locations like shops, corners, seat-out places and near objects in space, but facilitated by the sensorial reach (of touch, vision, hearing or smell). The reach defines the functional adequacy for interpersonal relationships and related behaviour. Intra- personal contacts occur as encounters, of recognition, casual gestural and verbal greetings and durative exchanges. The routes, space use occupation, time schedules are very deliberate. The spatial character of the neighbourhood is formed by the intensity of activities, which in turn foster the intra-personal contacts.

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6 Implications of neighbourhoods are evident with how people realize the spatial features. This is vitalization that formats the space as the place. This is always a synergy, impossible to inculcate through design, or difficult to bring in about by outsiders. Neighbourhoods are about dwellers of the place, and not visitors to market places or parks. The dwellers have certain attributes like age, social status, economic activities, cultural-religion affinity, duration of stay and sense of belonging. These form diverse sets of human interactions and compatibilities.

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7 Neighbourhoods continue to reveal their spatial character. One becomes more comfortable with the functional potential and variety it offers. New sensorial connections emerge from smell of foods, sounds of speech and music, visual accent of colour and texture) and the tactile liaison through handshake, caress or hug. These connections are embedded in the people, environment, built space and objects.

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The essence of a neighbourhood is the spatial character that is natural, and not a designed one. When people begin to associate the spatial configuration as a participatory extension of their home, it offers a wider sense of belonging. Neighbourhoods are vicinity where people, place and the objects have empathetic connections with synergetic interaction system. The shared identity and related spatial significance are not rationally grasped by many, but all do understand the new experiences that continuously evolve here. The neighbourhood as empathy grows over a period of time, maturing as a distinctive personal domain, different from other settlements.

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A neighbourhood is a community place, where the dwellers or ‘locals’ acknowledge the co-residents. This leaves out the gathering or visiting places of ‘non-locals’, and which may be at some distance, like the parks, zoos, markets and malls, etc. A neighbourhood is always a space with uncertain markings. Its extent is fluid, depending on the person’s physical reach capacity, vehicles or means used, routing, climate, obstructions and the linkages such as bridges, access conditions etc. On the other hand gathering or visiting places of ‘non-locals’ are zoned and regulated spaces, strongly defined by barricading elements or contained within set of other places. These places flourish due to the connections with the outside world but neighbourhoods thrive on the internal strengths.

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The neighbourhoods have reach regulated by distance. Reach is accessibility to people and objects through familiarity, reliability, predictability and security. ‘These references have historical traces in the race, cast, craft-activity, food, dresses etc. of the dwellers.

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Observation is participation in a neighbourhood place. A mother will not allow a child beyond visual field or shout-out reach. A youngster reaches out, to go to known places like friends’ house, school, or playground. Buildings and objects on daily routes of travel seem part of the neighbourhood. Objects beyond the cross barriers, such as busy roads, water-bodies, railway-tracks, hillocks etc. are considered parts of other neighbourhoods.

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Historically, small neighbourhood spaces had characteristic commercial component in the form of small stores and services (tailor, barber, laundry) shops. The traders with shop-home combination were also the informal watchdogs (policing) and communicators (gossip). Such places within the neighbourhood formed the loitering places and play areas for children. The commercial component was dissolved with shops and services being pushed to the main roads by zonal regulations. In towered apartments the population density is often great, and shops and services requirements are greater. But these are also pushed away in non-organic layouts. Loitering and play areas for children are vacant lots, used except for few hours. The tall tower dwellers with cars are encouraged to do intensive Saturday-Sunday shopping.

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Every little change is not only noticed, but routinely probed. People recognize the spatial changes. Around the corner or beyond the nominal perspective’ the changes are more apparent. A turn is a reversible change cutting off or initiating the connections. The change is worrisome, both by its presence, if sudden and extensive, or through its absence like when not of expected scale and quality. The neighbourhood fabric is disturbed by faster change in dwellers’ profile, new buildings, zoning laws, access to media and means of communication, rapid changes in urban-architectural character beyond the neighbourhood.

 

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Turning around ‘a corner is a limit of the home precinct for the child, but an additional adventure for a youngster’. To the elders, the corner is interesting from the opposite side, as it allows a wider perspective. Street-corners are good locations to observe and passively participate in social activities. Street corners are not always road junctions, but estate or plot edges that are shaped acute, obtuse or diffused. The old planning dictum to always hold the street Line’ or else time will erase all the spared space on the edge. ‘Put your building right out at the sidewalk, instead of behind one of those dreary concrete plazas’.

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The street corners are the ‘territory break lines’, not just for dogs and gangs, but also for the users. Within the personally ‘felt’ territory or limits, people move around without explanations, embarrassments or fear. Such ‘discretion’ are helped by the multi-angled-toothed layout of the neighbourhood, rather than a long straight street or squared edge layout.

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In Ahmedabad, India the genesis of the neighbourhood was in the ‘Chakla’. It was the first multiple road junction after entering the fort gate. The road from the fort gate was straight, whereas the Chakla had multiple nooks and corners, to be a place for everyone. Neighbourhoods were also formed as the gated communities such as the Pols of Ahmedabad, ‘for the purposes of defence, group preservation, sociality and convenience’. And within the Pol, there were other public or community spaces, in the form of Chowk and Khancho (literally a setback). These were irregularly shaped relief-spaces, identified by the temple or important dweller or the caste-community.

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‘A good city street neighbourhood achieves a marvel of balance between its people’s determination to have essential privacy and their simultaneous wishes for differing degrees of contact, enjoyment or help from the people around’. (p59 The Death and Life of Great American Cities by Jane Jacobs).

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An existing convenience store in Toronto, Mimi's Convenience Store

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Corner bars, cafes or grocery stores were places of convenience, and preferred ‘joints’ because of the commanding view they offered. The owners of such commercial entities were not outsiders, but residents who dwelled up-above or on the back side of the ‘joint’. But with zoning regulations, these were pushed out to the main roads on the edge of neighbourhood or exclusive commercial zones. The ‘joints’ of the neighbourhood were not always in the corner, but known as: 7to11, 24×7, Morn-Eve, Bodega (from Latin apothēca, or apothecary =storeroom or wine-cellar), konbini (Japan, approx abbreviation of konbiniensu sutoa =convenience store), Arabe du coin (Paris), packie, delis (delicatessen), dépanneur or dépanner (French) shortened to a dep, party store, offy for off-license shop, sari-sari store (Philippines), milk stores or bars, Mama shop (Singapore).

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SIZING and SCALING the SPACES -Issues of Design 23

Post 674 –by Gautam Shah

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Sizing of architectural entities is accomplished in Three manners. 1, as a primary reference, the sizes are perceived in human measures, 2, in a second consideration, the sizes mean physical capacities of human body representing the work capacities, physical reach and sensorial reach of perception, and 3, lastly the sizes are mutually related for proportioning, irrespective of the human relevance.

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In the 1st case, the sizes are relative to the human measures, and these had formed the first set of scales in all cultures. The innate reference to the human measures survived, in spite of the standardization to overcome the racial-anthropological variations and cultural preferences. Digitized measures of Metric system completely abstracted the measures, and absolute alienation occurred.

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For the 2nd example, the sizes reflect the physical capacities of the body and sensorial reach of perception. Typically, for very long time travel distances were expressed in time, required for walking or running (or number of lunch-rest, feed for horses, required). Wheat and other agricultural products were transacted by numbers or volume capacities like bushel or basket. Displacement (carriage) of goods was in terms of oxen or horse power. Architecturally a wall was measured in terms of (volume x distance) displacement of stones rather than the volumetric measure of the finished structure. The ‘culture of measures was complicated by fractioning or multiplying the ‘measures’ for conversion to the abstract entity like money.

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With 3rd instance, the sizes are perceived to be pure numbers. The pure numbers have some basic linear ascending or descending sequences. This character is difficult to understand or justify, and ‘too dry or latent’ to be meaningful. But, it has a mathematical confirmation across many sensorial experiences and presence of physical objects. The mathematical order, however is a confirmation or satiation that occurs after the creation, and is rarely an input for planning.

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The sizes are considered as pure numbers to ‘apportion’ physical objects or sensorial experiences, as large, small or equal. Such apportioning of the physical objects or sensorial experiences is intentional or comes as a revelation. But it is an achievement that offers certain applicable aesthetic relationships. Corbusier in his Modulor compared the sizes with pure numbers, and derived a universally applicable set of aesthetic relationships. Vitruvius remained, with the mutual comparison of (human) sizes, but yet had some aesthetic derivations.

 

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Sizes are mutually related as functional or accommodative operants, or are considered as pure numbers with ‘mathematical’ sense, and a comparison ensues. The relationship is basically between ‘this and that’. Here both the entities are physically in the same realm, of identical sensorial realization, or one of it is in a different time or space. In the last case the remembrances or records bring forth the proportions. Proportioning is ordering of an arrangement. It follows some analogy, sequencing, proximity or context. There are two levels of proportions: formed between equals and unequals. Equal entities, even if spread over extensive area, begin to ‘loop in the coexisting things’ into a holistic domain. Unequal things must be contextually together to make a ‘sense of being a system’.

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When a space is Sized or dwelled, it confers certain functionality and sufficiency. Comparison is made out in terms of ergonomic suitability and sensorial adequacy. But when a space is Scaled, it forms a comparative order between various constituents. Sizing a space specifies, the nature of cognition, human reach, nature of communication and inverse affectations. The levels of privacy, intimacy, loss of objectivity and subjective involvements that occur in a space, are governed by its size. Scaling a space, offers means of perpetuating the satisfaction that one draws out of natural, created or realized things. Scattered elements manifest may reveal, some day the order of scaling or pattern of arrangement. This is an intellectual confirmation.

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Size has a close affinity to the orientation of ‘lay’ of the space. The direction of smaller or larger size gives a feel of a deep and shallow space. The orientation gains relevance because it is aligned with our sensorial nodes. The sensorial nodes are highly directional whereas the bi-nodal faculties like eyes and ears help the focussing. Similarly with the sense of direction we perceive the change in speed. The variations in progress and movement both define the ‘lay’ of the space. This experience is true for deaf and blind persons.

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Scale is perceived irrespective of the measure, being simply relationship between numbers. To read a measure one must read the object in ‘ortho’ mode (straight, upright, right, correct). A projection system used in maps, architecture etc. where the rays are parallel. So the scaling or proportion system works, but can it work in a perspective mode? A building can have three major planes simultaneously perceptible, but affected by the visual foreshortening. Can the scaled relationships remain valid in perspective perception?

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Measurement scaling, from mathematical series, Vitruvian or Corbusier’s Modulor systems were created for built forms and products. At a similar level musical scales and recitation metres have been defined. But can these musical scales and recitation metres be transposed to other scenarios like architecture? Conversely can anyone create musical composition with Corbusier’s Modulor system or use literary recitation metres for building design? Often numerical values are assigned to various types of data like opinions, judgements, and concepts, are these numbers amenable to scaling, and provide any rationale.

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Functionality and the Environment are difficult to separate, as one seems to manifest the other. Spaces within the known range (of recognition) are predictable and so manageable. So strangeness or alienation of spaces is reduced by introducing elements that form a scale. Such scaling elements also serve other purposes like repetitions, rhythmic evolution, structured patterning, sensory gradation, acceleration-de-acceleration, graduated changeovers, linkages, etc. Such scaling elements also occur naturally, like shadows. In architecture orthographic sciography the relationship is of 45°.

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Scaling is a perception of relationships that are not just visual but involving all sensorial faculties. So when due to the environmental conditions or personal sensorial deficiencies, the sense of scaling may get fogged but for only one or few and not all faculties.

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This is the 23 nd (in continuation of old series -new beginning) article on ISSUES of DESIGN

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The CORNER -metaphor

Post 672 by Gautam Shah

This is the 1st article of series: ‘CORNERS’.

A corner is convergence of two lines or surfaces, respectively to a point, or line. It can be an outward entity with crowning vertex, and an inward form of a depressing nadir. A vertex and nadir both are zero measure elements, mere points, abstract representation of a corner. In comparison a corner is far more substantial due to its wedge like spread.

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‘Nature has no corners, you are the vertex or nadir of it’. -unknown.

Terrestrially directions are always well ‘based’, real and cardinal (North, East, South, West), whereas, Corners occur as inter-cardinal ephemeral entities. The spatial sensualities of the human body, format the sense of emplacements and orientation, such as the Left-Right, Up-Down and Front-Back.

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Indian mythological space has 10 corners (four cardinal points + four angular points + up & down). The Kshetrapals (Guardians of the estate), however reside in four corners of the plot. The Global locations are defined through the corner formed by longitude and latitude. The Global Positioning System (GPS) was based on tracing of radio frequency, but now multiple satellites (as many as 24 or more in different types of orbits) work as regional and global location noting system. Besides location, the satellites also define movement and its direction, and altitudes. Currently photographs have embedded information about location (like longitude and latitude through GPS), but in very short future this will be reinforced with information about angle or direction of the shot.

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Estate corners have been assigned specific meaning and preferred tasks in Indian Vastu Shastra (Classical cannons of design-building). East direction should be open, light, bright and clean. West direction is for stability in life. North is holiest or purest direction. It is for wealth and prosperity. Energy flow out so should be lowest in level. NE is for deities to reside. South direction is considered inauspicious for entrance. It is owned by Yam, Hindu deity for death.

Some similar approach is offered in Jewish-Christian traditions. God created all sides, but left the North unfinished, saying, ‘whoever declares own-self to be God, allow the person to finish this corner, and then all shall know the truth’. From that unfinished corner, demons, winds, earthquakes, and evil spirits come forth to the world. From the north shall disaster break loose (Jer. 1:14). Because of the cold North winds, it was identified as the abode of evil spirits.

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Egyptian pyramids and other buildings are squared and well oriented. These have axial depth depicting space sequences. But the Egyptian art has total absence of oblique except for the Ra’s rays, ropes of weighing scale, wide feet and few gestures of the hand. There is a datum line that divides the scene into several strata, but does not become a scaling device. There are vertical elements that frame (a built-frame like mandap or chupah) the important person but it is a planner view. Architecture is gravity stable, with sloping faces of columns, obelisks, pylons, ceremonial ramps, and oblique faces pyramids.

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A corner is a recognizable, and long-lasting point or mark on a property. It is a point, from where a change (of direction) occurs. A corner marked property, has edges that define the exterior versus the interior attributes. It also defines, ours versus others domains. Corners define convex or concave (outward or inward) character of a spatial entity. Corners, if belong to the inside, mark what is included, and if on the outside, define what is excluded. We traverse an estate as a planner entity of corners, and for this, the contoured undulations are not important. A triangle, a three-cornered shape, has three vertices, and it is the minimum entity. Large country surveys are resolved to triangles, as the sharing of vertices, edges, and angles creates a linked universe.

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The prime cornered entity has been the Dice, with its potency to turn the fortunes. The dice, on one its six sides, has 4 dots at corners (like the city cross road diagonals). This was known as quatre (French), and anglicized to cater. Somewhere along the time, the word Cater came to be truncated to ‘cat’, and corners were identified for the cat to be in. No one asked the feline creature, if she preferred, a window sill instead?

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corners

Corners are right angled, acute, obtuse or reflex. Solids have corners with two exterior faces and hollow objects have two interior faces. The outward sides of an acute or right angle corner are difficult to comprehend simultaneously, because one of the side remains concealed, till one turns around. The exterior corner can be grasped fully, if only one moves away from it. Obtuse and reflex corners sometimes defy the perspective view. Solids have impersonal exterior faces, and hollow objects have compassionate interior sides’. Acute corners of an isometric view create visual aberration, where outward and inward corners look identical.

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A megaphone, trumpet, bullhorn, etc. are cone-shaped acute corners whereas speakers have a wider cone of an obtuse angle, both are meant to amplify the sound. The conical angle enhances the power of sound and radiate it in desired direction. A ‘listening cone’ for hearing fetal heart sounds of babies, is acute angled, whereas a dish-antenna is an obtuse-angled device that captures sounds (or energy) from a wider source, and concentrate it at the narrow end.

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A plane vertical edge enhances the corner, but if the plane is not a true square or has surface perturbation like single or double curvature then visual distortion is very ambiguous. An outward incline of the edge-plane over a corner push the centre of gravity away from the base, and makes the solid unstable, conversely an inward lean of the edge-plane over a corner is visually depressant, but offers an assuring gravity-stable solid.

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Corners are secluded spaces, ideal for intrigue, but the occupants remain unaware that conversation gets amplified and others can overhear. Secretaries, maids and butlers use reverse wine glass for listening to secrets. A corridor is a good sound transmitting tunnel, unless properly baffled or insulated. A corner protects you from sides, but does not allow any offensive action. Corners have little freedom of movement, and so one cannot hope to play blind-person’s buff.

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A corner entrance offers deepest traversing distance, so on any estate (party-place, banquette hall, game or fun-park, museum). Just like the main course of dinner, the entree is longer lasting and satisfying. Corners are closed and dead, but seclusion of a corner is dissolved by a gap in the end, like a funnel. It drains away the energy, but also acts like a pressure release valve. This technique is well exploited in public spaces like piazzas, plazas, courtyards, etc. The sides of parallel (square or rectangular) remain uninvolved but a cornered entity (parallelogram, triangle or multi-cornered) offers hopes of involvement.

Corners collision in Cities  Image by Peter Alfred Hess  httpswww.flickr.comphotospeterhess19738078021.jpg

Corners were re-realized when ‘perspective machines’ began to offer rational views with regulated corners. For architecture, the corners were  conceived for the perspective, but in paintings, these were exploited to put everything to scale and format a unified composition. The view making corners were most obvious in Greek Parthenon Here, not only the site was cornered, but built-form was also angled, but much later Baroque period created its own multi cornered architecture irrespective of the site.

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Parthenon Athens Greece (1978) Wikipedia Image by Steve Swayne

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Essence of a corner is its end point, and not the sides, inside or outside faces. In a perspective, corners mark the change of plane, but due to the taper, scale the scene. The corners, in perspective exterior or interior ones, all really occur inside a hypothetical cone. Performance stages were once round, but for controlled perception, have turned into wedge form. The tapered form of the stage has several advantages: On solid wall stages tapered shape reinforces the sound delivery like a megaphone, the wedge shape adds to the visual depth, it also allows the sides of the set to be visible from the audience arena. Games have corner shots as penalties. Loneliness is not confined by the sides, but it is just a personal low point, in an empty or crowded space. In a corner, if the change over is spatially distanced or time delayed, it turns into catch-22, a paradoxical situation of opposite set of rules (title of 1961 novel, Catch-22 by Joseph Heller). Corners must be negotiated quickly and decisively, and as in games one must negotiate (‘cut’) it from a distance or get shot by hidden opponent.

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A corner is also a joint, and here two different things have some generative encounter. Joints are conditions of adjacency between two or more objects, which offer some spatial surprises. Many different social and political activities flourish at corners, investing a different meaning to the architectural space.

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The word corner derives from > ‘corne, corner, horn, cornū, cornua, cornere, corniere, corna (horn or hyrne), angle. Use of cater (French quatre =four”), as a verb can be traced to the 16th C as meaning ‘to place something diagonally, move diagonally, place diagonally or cut diagonally’.

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SUPPORT SYSTEMS -Issues of Design-22

Post 669 by Gautam Shah

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We need supports to move, stand, or even do nothing. We use the support for gaining, sustaining or relieving various biological conditions of the body. We need, physical as well as abstract, supports. We need supports inside our places of inhabitation, and beyond it. We explore our environments for natural supports, and configure supports as we create our habitats.

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Primary supports are required for getting in-out, conducting tasks, closing-opening and shifting the utilities. Supports are also used for expression and communication. Supports govern the reach and work capacity of a person. Supports allow and enhance movement of the body limbs and parts, in wide range of spatial occupations and conduct it at a required pace.

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Built-forms, amenities and facilities offer a complex set of configured supports. Supports are required to initiate an action, for work towards or away from the gravity, overcome impedance of friction, bondage etc., for swaying and stopping it and absorb the bounce-back forces of reaction. Supports help change the body postures for physiological relief, breathing, metabolism, respite from tedium and consistency.

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Support systems are universal, used by persons of different stature, abilities, age profiles and mental conditions. Supports occur in one continuum, employed in unique sequence of activities. For these two reasons, some optimal needs must be realized.

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Amenities and Facilities offer physical and abstract supports. The physical supports as they really exist, we rarely use them. The physical supports through their presence provide assured certainty and adequacy of performance, safety and security. It is psychological reliability that the supports are available, when and where needed. Abstract supports do not exist, but are rather conditions that restrict one to take certain actions. These are socially acknowledged thresholds. Such metaphorical systems also regulate the expressions of the body.

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The supports are required for facilitating Macro movements of the body, like shifting the body or changing the posture whereas Micro movements help in gestures, communication and expression, and to realign the physiological pressures.

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In all work processes, brisk or sedentary, one needs the ability to freely reposition the body. Such movements are postural ones, like the movement of limbs, neck, switching the weight over legs, or wriggling over the bottom. Others are gestural (twitching of lips, eyebrows). The postural or gestural changes occur with supports. These are, access height of the amenity, body position and related reach and work ability, familiarity etc. Assurance of a support allows one to take deliberate risks.

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Body movements endow new work capacities (reach, spread, productivity) besides removing the tedium. Such dynamic posturing increases cognition of happenings around us and encourages concentration by stimulation of muscles, blood circulation, and neurochemical processes. Too many body changes may seem distracting to others.

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Balancing the body

We continuously sway our body due to internal causes (breathing, metabolic activity), and for external reasons (like turning head while observing and communicating, for keeping garments in order). The sway invigorates our body and greater participation in the world around us. For such minor swaying no physical supports are required to initiate or terminate it.

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The postural changeability is both a physiological adjustment and a psychological expression. It is reflected in anxiety and boredom. Postural discomfort also occurs due to inadequacies of utilities. Utilities are exploited (misused) for fidgeting. Fidgeting is now accepted as a mode of tackling and learning. Intentional postural incongruities are natural while executing novel and complicated tasks. But postural stillness does not last very long while handling vibrant conditions.

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Exposure of postural discomfort and related restlessness, if amplified, can become very embracing. Designers need to include supports and barriers for fidgeting to flourish but regulate its exposure. Postural discomfort at some level is unbalancing force and a nearby support is required.

Receptionists are intensely observed persons. This is annoying when waiting seats are in front, a reception table is at eye level and its front is open and no other interests in the space. Similarly ‘open desks’ on stage or in conference rooms, if open at leg level distract the viewers.

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Once, our work tables were ‘wall mounted’, to source various services (drainage, power, structural support), but then concept of island work stations offered multi-directional posturing and access. In offices the open plans were too static. The personal table top computers were too fixed for fidgeting around. The Laptops with wireless data transfer systems and cloud storage not only allow micro body movements, but also posting in variable locations.

Designers are offering amenities and facilities that are not very ‘comfy’ but with ‘bearable discomfort’. That causes, little physical inconvenience, to infuse reach, balance, transitions extra ordinary perception.

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Indian offices, once had stools for peons. The wide foot print (legs tapering outward) offered a stable structure but its small sized seat and taller height, were unnerving, keeping the person alert and ready to standup. Similarly tall bar-stools also do not allow one to settle but allow freedom of movement. Aged people (and pregnant ladies), to get up, derive support from handles and harder, taller and a flatter seat, things contrary to these conditions make life difficult.

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The support systems are required for Active or Passive movements.

Ο Free active movements are used by a person to overcome the effect of gravity, for example, rising from lying to seating position.

Ο Resisted active movements are used by a person to overcome the effects of a manually or mechanically applied force, for example, lifting a load, closing a door, using a knife and fork, or digging with a spade.

Ο Assisted active movements occur with the help of another person or apparatus, like mother assisting a child or by using a chain or rope.

Ο Assisted-resisted active movements are dual efforts. First part of the movement assistance is required to initiate an action, but the other part uses resistance to control the action.

Ο Passive movements are those produced by an external force during muscle inactivity. All joint movements can be performed passively by manual means.

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This is the 22 nd (continuation of old series -new beginning) article on ISSUES of DESIGN

 

SOUND and SPACE -issues of design -19

Post 661 -by Gautam Shah

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Philharmonie im Gasteig, München Wikipedia Image by Andreas Praefcke

A space is perceived through three main senses -seeing, hearing and touching. The three senses mutually compensate and reinforce the perception. The perception occurs through coordinated stereo perception of sensory elements like two eyes and ears, and spatially distributed elements for touch. All three senses, scale the extent and depth of space. Physiologically, hearing diminishes with distance; seeing fades with reduction of illumination and touch becomes ineffective with the loss of tangency. Psychologically, however, the all three experiences remain associated with places, spaces, seasons, moods and people. The three senses format the perception of space. The space experience gets reinforced by the lingering effects like echoes, reverberation, and afterimages.

A group of musicians; representing the sense of hearing

Sound dwells in two distinct entities: space and time. The realm of a sound originator -the speaker, a singer, perceives substantial sound from the same space –the vicinity. The world of listeners is spatially separated and distinct, but has slight time delay. This duality is negotiated with some form of calibrations to arrive at common perception. The musicians and speakers tune and improvise once inside a space and begin to deliver. Oftentimes, we shout in to the telephone, believing the reception at the other end is equally bad. Similarly pauses in speech or music by the sound originator, if occupied by other ’disturbances’ (echoes, reverberated sounds, background noises, local absorption), the equation between the listener and sound maker fails. This is one of the reasons why it is nearly impossible to faithfully record a real out of the door profile of sound. What we listen in a place is ‘a convolution between the original sound and response of the room.

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Sound is a spatial entity. Sound-spaces are associated with shapes, sizes, materials and memories. In outdoor unbounded spaces the environmental elements like terrain, components of atmosphere and vegetation are modulators of the sound. In the long run these elements format the quality of speech and singing of people of the locality are affected by the surroundings. In ethnic societies the diction gets reinforced, whereas with migrants, it persists in traces for several generations.

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The sound is also a temporal phenomenon, a dynamic happening. The sound-happening persist for a very long time and spreads through cutouts, chowks, openings like doors and windows, gaps, cleavages, holes and cracks. Sounds have an eerie feeling in empty spaces due to unpredictable time delays, amplification and directionality. The time-sound response in such spaces fudges the scale and materials. Cluttered spaces have loss of detail due to subjugation of background noises. The connect with external noises provide eventual reference to the personal domain.

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Sound in architecture is heard through the physical presence and sensitivity. Sound induces emotional connect and sensual responses. Inside or outside, materials, scale, memory and familiarity, all create a ‘sense of sound. The sound acquires a personal identity. Sound is both a ‘tangible and intangible sensational atmospheric quality’. It allows the individual to physically hear, as well as feel and sense the characteristics present in architecture. So, Sound like the illumination helps in cognition of the spatial information, and these processes occur concurrently and reinforcing each other. Hearing and seeingenable us to communicate, to orient ourselves, and to recognize danger.

Familiar Spaces Hunter's home, by Henry Voordecker

Peter Zumthor outlines that, “Interiors are like large instruments, collecting sound, amplifying it, transmitting it elsewhere. That has to do with the shape peculiar to each room and with the surface of materials they contain, and the way those materials have been applied.” (Atmospheres, p. 29).

Peter Zumthor

The simultaneity of images and sounds is most important aspect of communication for cinema, advertisements, multi-media presentations, games, products, telephony etc. to construct or mask the reality. Typically pressing buttons needs concurrency of tactile, audio, and visual experiences, and these may not be real or life-like but one that arouses satisfaction of an action happening. In certain aural-visual environments like games, films, TV programmes, telephony, medical examination equipments, the visual data is too consistent, but is variegated by addition of sounds as feedback or feed forward clues. Similarly addition of beats or predictable rhythms adds measurable familiarity.

Marionettes from the Swedish Cottage Marionette Theatre, New York, USA production of Cinderella Samba

Sound is transitory, so the rate of fading and its directionality, as ‘aural impressions’ must become elements of design. But rarely architectural spaces are created for the ‘sound-scape’. Many sound-space installations are created, some in bounded and many in open areas. Bounded spaces are handled with uncertain volumetric maneuvers and surface manipulations’, or with gadgetry to alter the quality of sound production. Open spaces are more scary as the volume is not maneuverable and surfaces beyond the echo-reverberation range. Here too, the gadgetry is used to alter the quality of sound, but effects are sporadic.

Instrument Musical Clarinet Sound Music

A street or neighbourhood reveals itself more at night. The sounds impinging into the interior space with little variations of illumination (of moon light, street light glow, and vehicles head lights) bring forward the depth of the spatial surroundings. But human settlements are designed for visual and aural spaces of day-time only. The public spaces turn unfamiliar (and unfriendly) at night. At night the aural space seems more holistic then visual space, because sound seems to transcend many obstacles or barriers.

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This is the 19 th article of 20 topics series on ISSUES for DESIGN

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