been relatively little concerted attention to museum space, partly because of ‘the absence
of a language of space in which to formulate clear distinctions between one kind of spatial
layout and another’ (2006, p. 282). The lack of such language, they suggest (after Hillier
1996), is in part ‘because patterns of spatial relations are so basic to our existence that
they form part of the apparatus we think with, rather than think of’ (Hillier and Tzortzi
2006, p. 283). The aim of space syntax is to provide such language. A start has been made
with concepts such as ‘classification’ and ‘frame’ (derived from the work of Basil
Bernstein),x ‘integrated’ and ‘segregated’ space (to refer basically to how divided up a
space is), and axiality and spatial layering (Hillier and Tzortzi 2006), although a
comprehensive and agreed-upon vocabulary has yet to be developed. An interesting
aspect of this work is that many of its terms and insights are not derived from the analysis
of disembodied space alone but from careful and analytical observation of movements in
spaces. Some of these observations of movement have highlighted aspects of space that
might not otherwise be immediately evident. For example, they found that some spaces
produce an effect that they call ‘churning’ in which people re-encounter each other,
something that they may scarcely register but that has implications for how they relate to
such spaces, which ‘tend to be experienced as more socially exciting than those which
preclude it by over-sequencing’ (Hillier and Tzortzi 2006, p. 292). More recent space
syntax research has also tried to go beyond questions of layout to incorporate the
positioning of objects and exhibits, including attention to what they refer to as the way in
which the visitor’s perception is ‘staged’ (Hillier and Tzortzi 2006, p. 294). What space
syntax work has not yet addressed to my knowledge, however, is how physical spatial
layout—and perhaps matters such as the perceived boundaries of an exhibition or its
sequencing—might be mediated by technologies such as interactive computer guidebooks.
This is another area that might be addressed in future research.
been relatively little concerted attention to museum space, partly because of ‘the absenceof a language of space in which to formulate clear distinctions between one kind of spatiallayout and another’ (2006, p. 282). The lack of such language, they suggest (after Hillier1996), is in part ‘because patterns of spatial relations are so basic to our existence thatthey form part of the apparatus we think with, rather than think of’ (Hillier and Tzortzi2006, p. 283). The aim of space syntax is to provide such language. A start has been madewith concepts such as ‘classification’ and ‘frame’ (derived from the work of BasilBernstein),x ‘integrated’ and ‘segregated’ space (to refer basically to how divided up aspace is), and axiality and spatial layering (Hillier and Tzortzi 2006), although acomprehensive and agreed-upon vocabulary has yet to be developed. An interestingaspect of this work is that many of its terms and insights are not derived from the analysisof disembodied space alone but from careful and analytical observation of movements inspaces. Some of these observations of movement have highlighted aspects of space thatmight not otherwise be immediately evident. For example, they found that some spacesproduce an effect that they call ‘churning’ in which people re-encounter each other,something that they may scarcely register but that has implications for how they relate tosuch spaces, which ‘tend to be experienced as more socially exciting than those whichpreclude it by over-sequencing’ (Hillier and Tzortzi 2006, p. 292). More recent spacesyntax research has also tried to go beyond questions of layout to incorporate thepositioning of objects and exhibits, including attention to what they refer to as the way inwhich the visitor’s perception is ‘staged’ (Hillier and Tzortzi 2006, p. 294). What spacesyntax work has not yet addressed to my knowledge, however, is how physical spatiallayout—and perhaps matters such as the perceived boundaries of an exhibition or itssequencing—might be mediated by technologies such as interactive computer guidebooks.This is another area that might be addressed in future research.
การแปล กรุณารอสักครู่..