Exploration of Contemporary Space Dynamics: Spatial Design

ARCENG INTERNATIONAL JOURNAL OF ARCHITECTURE AND ENGINEERING ISSN 2822-6895 Year 5 (2025) Vol:5 Issue: 2 Issued in December 2025 www.e-arceng.com 369 369 Article Arrival Date Article Published Date 03.12.2025 20.12.2025 Exploration of Contemporary Space Dynamics: Spatial Design 1 Çağdaş Mekân Dinamiklerinin Ortaya Çıkartılması: Mekansal Tasarım Ayça ARSLAN Dr., Öğretim Üyesi, İzmir Demokrasi Üniversitesi., Mimarlık Bölümü, Orcid:0000-0002-5262-1429 Özet Bu çalışmanın ana amacı çağdaş mekân dinamiklerine odaklanmak ve geleneksel mekân strüktürlerinden farklı olarak günümüz çağdaş esnek kullanıcı dostu, gün ve gün gelişen çağdaş mekân strüktürlerini ortaya çıkartmaktır. Mekânsal tasarım geleneksel mekân strüktürlerinden farklı bir şekilde mekânın dinamikleri olan, esneklik, zamansal büyüyebilme, konvekste, gibi parametreler ile çağdaş geçirgen esnek hafif mekânsal sınırların tasarımına odaklanır. Mekânsal tasarımda mekanlar arası sınırlar geleneksel yöntemlerden çok farklı olarak, duvar ve kapı ilişkisi ile değil, tasarımsal esnek öğeler ile sağlanır. Mekânsal tasarımın algıya dayalı bir tasarımdır, dolayısıyla oldukça hafif, esnek, geçirgen v e çok çeşitli dinamikler mekânsal tasarıma dahil olabilir. Gestalt algı kuramı ilkeleri mekânsal tasarımın ana kurgusunu oluşturarak, her türlü kompozisyona bir düzen ve estetik katar. Bu yüzden mekânsal tasarım algı kuramına dayalı olarak, mekân sınırlayıcılarını; noktasal elemanlar, düzlemsel elemanlar, kot farklılıkları, renk ve doku farklılığı, mobilyalar, 3 boyutlu mekân strüktürleri, aydınlatma ve baş üstü düzlemleri olarak asma tavanlar olarak sınıflandırır. Dolayısıyla mekânsal tasarım farklı mekanları bu sınırlayıcılar ile tanımladıktan sonra yine geleneksel oda-koridor mekân organizasyonu ilişkisinden farklı bir mekânsal organizasyon ile mekanları ilişkilendirir; derinlik, yoğunluk ve iç-içe geçme. Yeni mekân sınırlayıcılara ve mekânsal ilişkilere ek olarak mekânsal tasarımda grup mekân karakteristikleri olarak; gece ve gündüz kompartmanları, tekil mekân karakteristikleri olarak servis kompartmanları ve yeni mekân tipleri olarak; eşik, ikili, tekrarlı, ara, niş ve açık mekanlar olarak çağdaş mekân tipleri sunar. Bu çalışmada mekânsal tasarımın tüm dinamikleri ile tanıtılması ve örnekler üzerinden açığa çıkartılması amaçlanmış ve günümüz çağdaş, esnek, kullanıcı-dostu, değişebilen ve dönüşebilen, farklı senaryolara adaptasyon yeteneği yüksel çağdaş mekân dinamikleri sunulmuştur. Anahtar kelimeler: Mekansal tasarım, Esneklik, Çağdaş mekanlar Abstract The primary objective of this study is to focus on contemporary spatial dynamics and, unlike traditional spatial structures, to develop contemporary, flexible, user-friendly, and evolving spatial structures. Spatial design focuses on the design of contemporary, permeable, flexible, lightweight spatial boundaries, incorporating parameters such as flexibility, temporal 1 This study was presented as a conference paper at the 6th ASES Kayseri Congress on December 3, 2025. ARCENG INTERNATIONAL JOURNAL OF ARCHITECTURE AND ENGINEERING ISSN 2822-6895 Year 5 (2025) Vol:5 Issue: 2 Issued in December 2025 www.e-arceng.com 370 370 scalability, and convexity, which are inherent to spatial dynamics. In spatial design, boundaries between spaces are established not through walls and doors, but through flexible design elements, significantly different from traditional methods. Spatial design is a design based on perception, and therefore, it can be quite lightweight, flexible, permeable, and incorporate a wide variety of dynamics. The principles of Gestalt theory of perception form the fundamental foundation of spatial design, bringing order and aesthetics to any composition. Therefore, based on perception theory, spatial design categorizes spatial boundaries as point elements, planar elements, elevation differences, color and texture variations, furniture, three-dimensional spatial structures, lighting, and overhead suspended ceilings. Therefore, after defining different spaces with these boundaries, spatial design associates these spaces with a spatial organization different from the traditional room-corridor relationship: depth, density, and interconnectedness In addition to new space boundaries and spatial relationships, it presents contemporary space types in spatial design, including group space characteristics such as day and night compartments, individual space characteristics such as service compartments, and new space types such as; liminal, dual, repetitive, intermediate, niche, and open spaces. This study aims to introduce spatial design in all its dynamics and reveal them through examples. It presents contemporary, flexible, user-friendly, changeable and transformable, and highly adaptable to different scenarios. Keywords: Spatial design, Flexibility, Contemporary spaces 1. INTRODUCTION Accordingly Ulrich Exner and Dietrich Pressel spatial design is defined as; ‘’Spatial design can be generally defined as any type of active spatial appropriation, whether it is a room or a landscape. At the center of this group is space as a relationship, perceived sensorially and cognitively, between things, bodies or elements of the activated nature. Below, we discuss human perception of the built and natural environment, the characteristic phenomena of space, and the means and elements available for designing it’’(Exner&Pressel,2021). Thus as defined by Exner and Pressel, spatial design is the art of occupying spaces, differently from traditional cell-to-cell type configurations, spatial design aims to create contemporary, flexible, adaptable, multi-functional, human-based space design. Spaces can be quickly respond to changing user and usage scenarios and re-produced again again. Spatial design is a perception based design, it has close relation with gestalt design laws, such as; similarity, proximity, symmetry, good continuity, figure-ground relations. As highlighted by Exner and Pressel (2021) spatial design and perception relations which is called spatial perception defined as; ‘’The prerequisite for any spatial design and its effect is the human sensory and cognitive perception of the surrounding environment. All of the sensory stimuli conveyed by space are processed by the brain, which influences how an individual feels, behaves, and moves. Humans are believed to possess up to thirteen senses, including the five main senses of sight, hearing, touch, smell, and taste, as well as balance. Some people do not have access to all of the senses or are not able to perceive or fully perceive certain sensory stimuli such as light or sound. The sense of equilibrioception is responsible for perceiving gravity, and therefore spatial verticality, as the constant orientation in space’ (Exner&Pressel,2021). Spatial perception serves our basic orientation without our need to absorb all the spatial characteristics completely. We are constantly using new spaces in our daily lives. Much of a space’s information is processed so quickly by the senses and the cognitive system that it automatically influences our behavior without the need to first activate our thinking process. The human processing of perception and information quickly allows space to appear cozy or uncomfortable, claustrophobic or protective, without perceiving the spatial characteristics ARCENG INTERNATIONAL JOURNAL OF ARCHITECTURE AND ENGINEERING ISSN 2822-6895 Year 5 (2025) Vol:5 Issue: 2 Issued in December 2025 www.e-arceng.com 371 371 individually. We know the moment we enter a café whether we like the atmosphere or not. 1.1.Perception Our visual field normally consists of heterogeneous elements that differ in shape, size, color, or orientation. To better comprehend the structure of a visual field, we tend to organize its elements which are perceived as figures and negative elements which provide a background for the figures. At the scale of a building, we tend to read the configurations of walls as the positive elements of a plan. The white space in between should not be seen simply as background for the walls, but also as figures in the drawing that have shape and form. The form and enclosure of each space in a building either determines or is determined by the form of the spaces around it. In the theater in Seinajoki by Alvar Aalto, we can distinguish several categories of spatial forms and analyze how they interact. Each category has an active or passive role in defining space. (Ching,1996) (Figure 1) Figure 1. a) Letters are seen as dark figures against the White background of the paper surface, b) Alvar A. Alto,Theather in Seinajoki 1.2.Form Defining Space This part illusturates space identifiers both horizontally and vertically such as; all sort of horizontal and vertical planes. 1.2.1. Horizontal elements defining space: a) Base Plane: A horizontal plane lying as a figure on a contrasting background defines a simple field of space. This field can be visually reinforced in the following ways. b) Elevated base plan: A horizontal plane elevated above the ground plane establishes vertical surfaces along its edges that reinforce the visual separation between its field and the surrounding ground. Section of Farnsworth house: Piona Illinois, 1950, Mies van Der Rohe. The Farnsworth house was constructed to rise above the flood plain of the Fox River. This elevated floor plans, together with an overhead roof plane, define a volume of space that hovers delicately above the surface of its site. (Ching,1996) (Fig.2) Figure 2. a) Base Plane, b) Elevated base plan c) Depressed Base Plan:A horizontal plane depressed into the ground plane utilizes the vertical surfaces of the lowered area to define a volume of space. The degree of spatial continuity between a depressed field and the raised area surrounding it depends on the scale of the level change. d) Overhead Plane: A horizontal plane located overhead defines a volume of space between itself and the ground plane. Since the edges of the overhead plane establish the boundaries of this field, its shape, size and height above the ground plane determines the formal qualities of the space. Glass house, New Canaan, Connection, 1949, Philip Johnson. The roof plane can be the major space-defining element of a building and visually organize a series of forms and spaces beneath its sheltering canopy. (Figure 3) ARCENG INTERNATIONAL JOURNAL OF ARCHITECTURE AND ENGINEERING ISSN 2822-6895 Year 5 (2025) Vol:5 Issue: 2 Issued in December 2025 www.e-arceng.com 372 372 Figure 3. a) Depressed Base Plan, b) Overhead Plane, c) Glass house 1.2.2. Vertical elements defining spacespace as a 3-dimensional architectural element Vertical forms have a greater presence in our visual field than horizontal planes and are more instrumental in defining a discrete volume of space and providing a sense of enclosure and privacy for those within it. a) Vertical linear elements; define the perpendicular edges of a volume of space. b) Single Vertical Plane; articulates the space on which it fronts. c)L-shaped plane; a L-shaped configuration of vertical planes generates a field of space from its corner outward along diagonal axis. (Ching,1996) (Figure 4-5) Figure 4.a) Vertical linear elements, b) Single Vertical Plane, c) L-shaped plane Figure 5. a) The four columns not only supported the vaulted ceiling, and the floor above but also adjusted the dimensions of the rooms to Palladian proportions. 1.3. Organization of Form and Space This part presents the basic ways the spaces of a building can be related to one another and organized into coherent patterns of form and space. a. Space within a space: A large space can envelope and contain a smaller space within its volume. Visual and spatial continuity between the two spaces can be easily accommodated, Moore house, Orinda, California,1961, Charles Moore, Glass house, New Canaan, Connecticut,1949, Philip Johnson. b. Interlocking spaces: An interlocking spatial relationship results from the overlapping of two spatial fields and the emergence of a zone of shared space. When two spaces interlock their volumes in this manner, each retains its identity and definition as a space. Villa at Carthage, Tunisia 1928, Le Corbusier. c. Adjacent spaces Adjacency is the most common type of spatial relationship; it allows each space to be clearly defined and to respond, each in its own way, to specific functional or symbolic requirements. (Ching,1996) (Figure 6) a b c Figure 6. a) space within a space, b) interlocking spaces, c) adjacent spaces d. Spaces linked by a common space: a) Two spaces which are separated by distance can be linked or related to each other by a third, intermediate, space. b) The visual and spatial relationship between the two spaces depends on the nature of the third space with which they share a common bond. The intermediate space can differ in form and orientation from the two A ARCENG INTERNATIONAL JOURNAL OF ARCHITECTURE AND ENGINEERING ISSN 2822-6895 Year 5 (2025) Vol:5 Issue: 2 Issued in December 2025 www.e-arceng.com 373 373 spaces to express its linking function. c)One-half house (project) ,1966, John Hejduk.(Ching,1996) (Figure 7) Figure 7. Spaces linked with a common space relation illustrations 2. SPATIALITY DEFINITIONS Aristotle defined space as a container of things; we would thus be occupying a succession of all-embracing envelopes ranging rather like Russian dolls from those that are ‘within the limits of the sky’ to the very smallest. Hence space is necessarily a hollow limited externally and filled internally. There is no empty space; everything has its position, its location, and its place. 2.1. Elements of Spatial Definition Architectural space is born of the relationship between objects or between boundaries and planes which do not themselves have the character of object, but which define limits. In modern architecture, the principle of regular, parallel, interrupted walls and spaces has been applied to the main perpendicular space. It is one of the ways in which architectural space is created. (Figure 8) Figure 8. Different spatial fields on the same square plan produced by varying spatial elements. a. Depth of space The most common and effective indicators of depth perception are; on the one hand, the effect of perspective with, notably texture gradient, on the other, phenomenon which tells us that an object partially hiding another must be front of it. Working with frontal planes wherein respective distance is small and ambiguous, certain architects of the Modern movement exploited not only the effects of shallow space but also the phenomenon of transparency resulting from the disappearance and fragmentary reappearance of one plane behind another.(Ching,1996)(Figure 9) Figure 9. Le Corbusier (1887-1965). Villa Stein-de Monzei, Garches, first-and second-floor plan study, b)Le Corbusier’s Villa Stein-de Monzie , Garches, axonometric, 1927. b. Density of space Space does not only have depth: it is also more or less dense. When greater density is the goal, ARCENG INTERNATIONAL JOURNAL OF ARCHITECTURE AND ENGINEERING ISSN 2822-6895 Year 5 (2025) Vol:5 Issue: 2 Issued in December 2025 www.e-arceng.com 374 374 we can modulate distances by intermediary ‘stages of depth’ brought closer together. This is generally the case when we work with shallow space, but we can also create density in deep space: the Cordoba Mosque with its ‘forest’ of columns is a deep space of extraordinary density. Conversely, the design for extension of the Bibliothèque Nationale by Boullee characterized the absence of density with a sparse, unitary space. (Figure 10) Figure 10. (Left) Dense space: interior of the Cordoba Mosque, (Right) sparse unitary space: design for the reading room of the Bibliotheque Nationale, E.L.Boutte, 1785 c. Opening space One of the fundamental oppositions making it possible to distinguish types of architectural space is that they can either be closed/introverted and concentrated upon themselves, or open/extroverted and centrifugal. While mass is concentrated, space is closed. The degree of its enclosure depends on more than the quantity and size of openings; when we wish to create a space opening to the exterior, we try to make it less explicit. Hence, there is direct connection between notions of explicit and implicit space and the degree of opening or closure. We can use the principles of one to achieve the other. (Figure 11) Figure 11. These instructional diagrams by Allen Brooks show Frank Lloyd Wright’s contribution to a new spatial conception: starting with the elimination of corners, he continues by altering the initial spatial geometry, displacing or pivoting segments of the geometric envelope by 90 degrees in order to organize the spatial continuity to his liking. d. Spatial juxtaposition and interpenetration Elements of spatial definition and openings characterize type of spatial relationships; indeed, they determine the degree to which a given space is autonomous or linked to other spaces. We can pick out two basic types: juxtaposition and interpretation. Juxtaposition insists of autonomy. Our language has a great number of terms that are, in principle, only applicable to a relatively well-defined closed space-room, bedroom, cell, hall and corridor all tied to the notion of privacy and exclusion from other spaces. Spatial interpenetration creates continuity from one space to another from the moment an important element of definition-wall, ceiling, floorappears to belong to two or more spaces. (Ching,1996) (Figure 11-12) a b c d Figure 11. a)Juxtaposition and interpenetration, b) Spatial juxtaposition c) Juxtaposition, d) Spatial juxtaposition and interpenetration ARCENG INTERNATIONAL JOURNAL OF ARCHITECTURE AND ENGINEERING ISSN 2822-6895 Year 5 (2025) Vol:5 Issue: 2 Issued in December 2025 www.e-arceng.com 375 375 Figure 12. Deconstruction of the box’,Kaufmann House (falling water), Frank Llloyd Wright,1936. 3. EXPLORATION OF SPATIAL DESIGN 3.1.Dynamics of Space: Use / Usage / User Triology USER/HOUSEHOLD/CLIENT CHARACTERISTICS AND LIFESTYLES NECESSARY EQUIPMENT AND ACCESSORIES FOR SPACES ACTIVITIES AND REQUIRED SPACES USER USAGE USE Table 1.USER-USAGE-USE interaction As can be seen from the scheme, space organization is a complement which; subject /user is human motivations and aims, complement/usage is space elements and components, and predicate/use is human activities. In other words, space organization is the place where subject’s activities due to subject’s aims and motivations have been realized under proper space conditions. Responsible systems of space organization alternately ensure interior harmony. So, it can be said that system of space balance can be provided with dynamic process. Here the space elements and components such as light, color, texture, furniture, decoration, form the proper and identical interior space for subject. (Oyman Ş.,1996) As indicated in the table-2, space organization that develops over ‘subject-complementactivity’ concept; 1st one human factor on space organization includes important topics such as; social-cultural arrangements individuals place in general orders, socio economic status of subject’s /individuals, the education level, and professional area and lastly lifestyle, philosophy of life and expectations of the individual/user, 2nd one focuses on complement includes analyses of; fixed, semi-fixed, mobile, technological features, anthropometric/ergonomic and prosemik features, number of elements, required areas, standards, and formal and symbolic values, Lastly 3rd part of space organization concept ‘activity’ includes, cultural-social significance of the activity, performer of the activity, interaction between individuals, routine of activity, required area for activity, and activity period-time-session. As understood from the table, space organization and creation is a dynamic process affected by ‘human, activity and components. HUMAN ACTIVITY NECESSARY EQUIPMENTS AND ACCESSORIES FOR ACTIVITY a) social-cultural arrangement and place in general order, ethnic groups etc a) cultural social significance of the event. b) who perform the activity, role a) attribute can be fixed, mobile, semi-mobile b) technological order and level ARCENG INTERNATIONAL JOURNAL OF ARCHITECTURE AND ENGINEERING ISSN 2822-6895 Year 5 (2025) Vol:5 Issue: 2 Issued in December 2025 www.e-arceng.com 376 376 b) social-economic status (income level-educationprofessional area-age-gender etc) c) Philosophy of life, lifestyle, values & attitudes, expectations, level in the process of cultural change. distribution, role definition c) quality of activity individual, physical interaction d) routine of activity, density, communication quality e) necessary space/areas and standards f) activity period, time, session c) number of elements, required area and standards d) anthropometric/ergonomic and procsemic features e) formal and symbolic values Table 2. Dynamic balance definition of space: ‘space: user-complement/usage-predicate/use’ relationship 3.2.Group Characteristics of Spaces and Contemporary Space Types Group spaces are; public compartments that are defined with spaces which strongly have integration relations that all daily activities occur in one place such as; entrance, kitchen, living room, terraces, whilst private compartments exhibit spaces for night and individual usages generally such as; ‘bedroom, dressing room, bathroom’. Public compartments exhibit multifunctional spaces together in an open plan. These spaces are implicitly defined and consist of different functional spaces with semi-transparent partitions and mobile furniture. For example, public compartments are formed by implicitly integration of; ‘entrance + kitchen + living room + dining room + study room’ spaces without any walls between. (Figure 12 a-b) Figure 12. a)38.7m2 My-Via 414 Mix-Use Project Izmir Figure 12. b)Next Level B59 1+1 70-100 m2 category On the other hand, contemporary (new) space types create group zones and compartment organizations as public/private and there are six space types totally in the study: liminal, dual, niche, repetitive, in-between and open spaces. These space types gather in the spatial organizations and create compartments as space groups and each space type has a different feature. Liminal spaces work like passages, at especially the smallest houses that connect outside with inside and at larger types they become halls with closets and bathroom connections. Dual spaces exist in public compartments and act as multifunctional spaces such as, a dining room transforms into a study room, or living room transforms to bedroom from time to time. In-between spaces exhibit fold in and fold out features, thereby they can be disappeared in the organization, in addition, they are used at both public and private ARCENG INTERNATIONAL JOURNAL OF ARCHITECTURE AND ENGINEERING ISSN 2822-6895 Year 5 (2025) Vol:5 Issue: 2 Issued in December 2025 www.e-arceng.com 377 377 compartments. Niche spaces are open version of enclosed spaces and repetitive spaces show similarities with sizes and forms; lastly open spaces are terraces that can integrate with the house's interiors with sliding doors.(Figure 13 a-b) Figure 13. a) Dual Function and In-between Spaces that Act as Circulations Figure 13. b) In-between Space 3.3. Spatial Identifiers These identifiers act as interior walls of traditional space organizations which able to create sub spaces in one big open space implicitly, without cutting fluidity of spaces increases flexibility of interiors with highly integrated spaces instead of segregated closed spaces of traditional organizations. The spatial identifiers have been classified under 6 in the study as; 1.Nodal partitions (columns) (flexibility) 2.Vertical planes (flexibility + expandability) 3.Fix-furniture (convexity) 4.Level changes (flexibility + expandability) 5.Material differences (flexibility + expandability) 6.Three dimensional (3d) space modules/structures 7.Over head plane (ceilings) & Artificial Lighting & Acoustics 3.3.1. Nodal partitions (columns) A vertical linear element, column or tower, establishes a point on the ground plane and makes it visible in space. When centered in space, a column will assert itself as the center of the field and define equivalent zones of space between itself and the surrounding wall planes. (Ching, 1996) a b Figure 14. a) A column in the space, When offset, the columns will define hierarchical zones