My intent was not to question the existential nature of space, but rather to investigate the way that physical spaces affect us as conscious beings. Most importantly I would look at euclidean geometry, rectilinear shapes, three-dimensional geometry, and space and objects as being real. Illusions trick our brain’s visual mechanics and have limited relevance to three-dimensional spatial effects. There are numerous examples of optical illusions, but they do not deal with the true nature of space. This is the result of memorizing the sizes of known objects and not a spatial effect.
Now you will realize that your brain allowed you to perceive both hands at almost the same size, irrespective of their distance away from your eye. Keep this measurement hand where it is, and bring the hand which was farther away back to your eye. Now take your closer hand and measure the farther hand with your index finger and thumb in a sort of pinching motion. Move one hand double the distance away from your eye as the second, and make a mental note of their perceived size. Take your two hands, and hold them out in front of your eye. The image below is an example of an optical phenomenon called shape constancy. These loopholes are known as optical illusions. The processing of visual information sometimes triggers cognitive loopholes. Our brain has built-in mechanisms that allow visual inputs to be recorded and processed, outputting information almost simultaneously that we then act upon. Space is self-evident, but the way we perceive it is not. I find I’m able to design spaces that are more pure, intimate, and spatially powerful. When considering how we experience each different space early on in the design process.
Space perception definition driver#
The paces were largely byproducts of a series of compromised design decisions, creating spaces that often felt like leftovers, rather than being the driver of the design. I felt the need to translate this back into my architecture.Īlthough I have been designing architectural objects for many years, it is not until I made these observations and conclusions that I can say that I started designing spaces.
Transitioning back to a fixed 22mm lens, I learned that composition and spatial effects of differential spatial typologies were much more important than the ability to distort space. But this distortion was an experiential lie. This allowed me to distort space, and experience it in a way that I never had before. For a few years, I used an adjustable wide-angle lens, appreciating the ability to capture as much space as possible. For me, this slight change in experiencing space was photography.
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