1.Space syntax: The language of Museum Space – Bill Hillier and Kali Tzortzi

1. Space is intrinsic to human activity: moving through space, interacting with other people in space, or even p , g p p p ,just seeing ambient space from a point in it, has a natural and necessary geometry

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Although such morphologies can often be understood in terms of basic geometrical elements such as corridors, streets, rooms, and squares, isovistanalysis suggests that visual fields have their own forms which results from analysis suggests that visual fields have their own forms which results from the interaction of geometry and movement.

Bedendict (1979) describes an isovist as ‘the set of all points visible from a given vantage point in space’. An isovist does defines a field of vision from which various geometrical properties, such as area and perimeter, can be calculated.

2. How space works for people is not simply about the properties of this or that space, but about the relation p p p ,between all the spaces that make up a layout.(spatial layouts are different when seen from different

i t ithi th )points within them)

-How people move?p p-Sequences and choices (in a more or less intelligible way)

The total depth of theThe total depth of thegray space from all otherspaces is the measure ofits degree of integrationits degree of integrationin the complex

The chosen space we call“the root” of a justifiedgraph.

Levels of depthIntegrated space has ashallow graphS t d dSegregated space a deepgraph

Space not only reflects and expresses socialpatterns, it can also generate them byshaping a pattern of movement and co-presence in a layout.

Pattern of spatial integration will correlatePattern of spatial integration will correlateoften to a high degree with a pattern ofmovement,

P tt f i l i t ti h tPattern of visual integration shows notsimply what can be seen from each space,but how many visual fields we have to movethrough to get to see the whole layout fromg g yeach points of view.

Pattern of visual integration clearlyresembles the density of movement tracesresembles the density of movement traces.

By shaping movement in this way, the spatiallayout of course also shapes a certainpattern of co-presence amongst visitors, andthis is one of its most powerful effects.

MOVEMENT INTEGRATION VISUAL FIELDS

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INTELLIGIBILITY OF THE LAYOUT

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PATTERN OF MOVEMENT PATTERN OF INTEGRATION PATTERN OF VISUAL INTEGRATION

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AXIALITY, MAJOR AXIS, SECONDARY AXIAL LINES directly intersecting themain ones; SEGMENTATION; MOVEMENT CHOICES

PEDAGOGICAL APPROACH simple structure with variety and directness ofspatial relations and sequences – chronological presentation of the

ll ti it i lt i ti f i ti dcollection – permit more simultaneous appreciation of paintings andawareness of others.

ALTERNATIVE ROUTES encourage more exploratory visiting style reduceALTERNATIVE ROUTES encourage more exploratory visiting style, reduceawareness of other visitors and lead to shorter and less regularencounters between them.

SPATIAL CULTURE-ONE MORE OVERTLY PEDAGOGIC – PUBLIC AND CEREMONIAL;-THE OTHER MORE EXPLORATORY AND PRIVATE

Visitors start moving rationally and then g yget confused, move randomly, returning to the same spaces or missing parts of the gallery;

The spaces that seem to lie outside the search track of visitors are those of the central sequence;

SIMPLIFIED BUT NOT INTELLIGIBLE LAYOUT

NON-HAMILTONIAN GRAPH: visitors can NON-HAMILTONIAN GRAPH: visitors can not get to all spaces without crossing some of them more than once or missing out parts of the gallery – usually central axis

MICROSTRUCTURE OF THE GALLERY SPACE

dependent variable, in that it can reflect pre-given social, cultural, orpedagogical ideas, and an independent variable, in that spatial design can,and usually will, have the consequences of shaping a pattern ofmovement and co-presence amongst those using the layout.AXIALITY, MAJOR AXIS, SECONDARY AXIAL LINES directly intersecting themain ones; SEGMENTATION; MOVEMENT CHOICES

PEDAGOGICAL APPROACH simple structure with variety and directness ofspatial relations and sequences – chronological presentation of thecollection – permit more simultaneous appreciation of paintings andcollection permit more simultaneous appreciation of paintings andawareness of others.

ALTERNATIVE ROUTES encourage more exploratory visiting style, reduceg p y g y ,awareness of other visitors and lead to shorter and less regularencounters between them.

SPATIAL CULTURE-ONE MORE OVERTLY PEDAGOGIC – PUBLIC AND CEREMONIAL;-THE OTHER MORE EXPLORATORY AND PRIVATE

SPATIAL CONFIGURATION EXHIBITION LAYOUT

MICROSTRUCTURE OF THE GALLERY SPACE

Choi: two models according to the role of space in structuring thepattern of movement:D t i i ti d l di t hi h t i f dDeterministic model – according to which movement is forced ascirculation choices are restricted,Probabilistic model – according to which movement is allowed to be morerandom but modulated by configurational variablesrandom but modulated by configurational variables.

Highly deterministic viewing sequence

It does this in two ways:-Structure of integration: integration core, which continually guideslocally varying movement patterns in the galleries back to balcony-likey y g p g yspaces overlooking the socially active main atrium;-System of visibility in the galleries themselves that is much richer thanthe system of potential movement, so that works of art from theforeground and other visitors, appearing at varying depths in the visualfields, sometimes in other galleries and sometimes in th emain atrium,form a background. In this way, the spatial layout created a “builtchoreography of movement and encounter” in which the museum was anexperience of objects and of other people richly integrated with eachother in continuously varying ways,

TWO GENOTYPICAL THEMES:TWO GENOTYPICAL THEMES1. ORGANIZED WALKING –

ORGANIZING SEQUENCES SO AS ORGANIZING SEQUENCES SO AS TO MAP KNOWLEDGE (ARHITECTURAL CURATORIAL)(ARHITECTURAL+CURATORIAL)

2. GATHERING SPACES –INTEGRATION CORE (PHYSICAL CO-PRESENCE AND VISIBILITY)CO PRESENCE AND VISIBILITY)

Huang (2001)

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Picasso Cubism

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M d i R liModrian Realisms