How Human Perception Plays A Role In The Importance Of Interior Space

Glass half empty or glass half full?

Perception in regard to the body and interior space is a hugely significant element that, ultimately, makes a space what it is. Memories and historical contexts make a space meaningful and indelible, solidifying the significance of a space to those who have established such connections. Memories are generally stored in an unconscious state of mind and return to the conscious state when reimagined through spatial perception. The connection between memories and space are, of course, subjective yet all derive from previous contexts and experiences from the setting. The idea that ‘rituals are collective memories encoded into actions’ (Schchner, 2002, p.52) presents the notion that spaces are designed to host specific actions and functions that, in turn, create the basis for experience and memories. In the same book, Schechner also states that ‘spaces have their own memories that are kept in them and those memories have an impact on the future events that take place in them’. This connotes historical value of a space and contexts in which they were built or existed within are vital in the creation of perception.

Human perception of spaces are unique to every individual as everybody's existences are entirely incomparable to one another, however, conditions that may affect one's perceptions remain the same. The scale or spatial dimensions and their relationships within a space alter the feelings evoked, as well as other factors such as the smell, temperature and previous historical and social factors. As perceptions can be so malleable and altered by many uncontrollable forces, perceived reality of a space can never accurately be defined as a form of definitive reality as it is subjective. This supports the notion that ‘There is not just a physical reality; spaces are linked to actions and rituals that provide them with a meaning beyond the configuration of spaces’ (Filmer and Rufford, 2018).

Having no real way of understanding each user's understanding of a space or the ability to define what is the ‘real’ experience of a place, poses the question as to whether or not architectural drawings have a limited level of communication. Their inability to accurately depict perception and experience restrict their usefulness as they fall short in demonstrating key aspects. There are no iterative practices of space within drawings and therefore other methods need to be used to account for the missing design element. 

An architectural example of how human perception has propelled and driven design can be seen in the Highline in NewYork. The train line’s original purpose, to ensure a sense of safety on the streets, solving the huge problem that was having a train rail and pedestrian path on the same level. Perceptions of the highline were in unanimous agreement towards the purposeful implementation of the industrial area. Once the area became less populated as business moved elsewhere, the need for the train line diminished, causing people to again feel this sense of unsafety in the now run down area. The restoration of what is now known to be The Highline is an example of how architecture has restored a sense of popularity and community and once again has an overall positive perception. The historical and contextual value that is the fundamental and physical structure of the developed railway embodies its previous attached perceptions as well as those created in the contemporary landscape.

References:

Schechner, R. (2002), ‘Performance Studies: An Introduction’, p.52. (1st ed.). Routledge

Filmer, A. And Rufford, J. (2018), ‘Performing Architectures: Projects, Practices, Pedagogies’.  Bloomsbury.

Potts, N. (2024), ‘How an Abandoned Railroad Became One of NYC’s Most Popular Parks | Architectural Digest’. Architectural Digest, Youtube, https://www.youtube.com/watch?v=m88-IUjDLq4