On space syntax as a configurational theory of architecture from a situated observer’s viewpoint

Abstract

Abstract.A confi gurational theory of architecture (CTA) from a situated observer's viewpoint (SOV) is discussed. It includes the levels of description-proper, representation, and interpretation. It takes a bottom-up approach because a situated observer, who is on the ground with a building, typically builds her understanding of the building using immediately available elements, called perceptual primitives. Evidence from geometry, psychology/cognition, and spatial reasoning suggests that the level of description-proper of a CTA from a SOV must include unambiguously defi ned perceptual primitives and their perceivable elementary topological and projective relations. Subsequently, in the levels of representation and interpretation any complex relational properties of buildings must be constructed and their meanings must be explained using these perceptual primitives. Early space syntax (SS), with its foundations defi ned using such perceptual primitives as convex space and axial lines, helps capture the structure of visual experience of buildings but has limitations regarding a CTA from a SOV. More recently, SS theorists have revised the foundations of SS using much simpler perceptual primitives in an attempt to integrate the apparently disparate techniques of SS into a coherent mathematical system. As a result, they have eliminated many limitations of early SS regarding a CTA from a SOV. However, in order to become a CTA from a SOV, SS will still need to explain the importance of these newly defi ned perceptual primitives, and -provide a framework for confi gurational studies using the mathematical system developed based on these primitives.Keywords. Space Syntax. Confi gurational Theory. Situated Observer. INTRODUCTIONSpace syntax (SS) theorists often use structure and order distinguishing perceptual from conceptual in architecture (Hanson, 1989;Hillier, 1996). They suggest that architecture becomes intelligible in two ways. In one way, we grasp a building all at once if we are in a position to see it as a whole from high above or in the form of a plan diagram. In such cases, the order of the building, as defi ned by its repetitive elements and relations, determines how well the composition of the building would reveal itself to us. It is suggested that we tend to associate the concept of order with the rational, formal, and the logical constructive activity of human mind.The other, more natural way to grasp a building happens 'on the ground' over time through movement. In this mode of understanding, the order of building may have very little or no role to play. In fact, repetitions of elements and relations may even be harmful to this mode of understanding, for they may confuse the observer on the ground. SS theorists argue that what is important in this mode of understanding is the structure of the experience of architecture. This structure of experience often depends on how local perceptual characters of buildings are identifi ed and differentiated and how these characters are related to the global form. Hen...

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