Sartorio, S., & Airoldi, F. (2023). Effects of Spatial Modelling on the Perception of time.

Definition of Places Through Temporal Typologies. archiDOCT, 19(11 (1)).

ArchiDOCT 19, 11 (1) TEMPORALITIES ii

Effects of Spatial Modelling on the Perception of time. Definition of

Places Through Temporal Typologies
Stefano Sartorio 1 , Francesco Airoldi 1
1 Politecnico di Milano
Keywords: Space, Tools, Dualism, Perception, Territories

archiDOCT
Vol. 19, Issue 11 (1), 2023

The complex relationship between time and architectural design manifests itself in many
ways, some of which are emblematic of how temporalities are part of the very concept of
architecture. When we talk about time, we frequently think about its consequences on
buildings (i.e. generating forms of decay), or how architecture reacts to its cyclical or
linear flow - days and seasons, years and centuries - or how architects refer their work to
history. Moreover, in the sphere of design, further typologies of temporalities come into
play; after all, projecting something into the future is a significant feature of design
itself.
In the field of perception and consciousness, some elements allow us to link the notions
of space and time. 20th century philosophical literature is full of reflections on this
relationship, starting from the phenomenological approach to reality and subsequent
authors like Henri Bergson, Martin Heiddeger and Dino Formaggio, who demonstrated
how the individual perception of time was influenced by the pure form of space: topics
such as duration, simultaneity, instantaneity, endurance and other kinds of temporalities
can be read as consequences of the spatial action on individuals.
If space and time are related, then the manipulation of space - the matter of architectural
design - necessarily affects the perception of time. Light and shadow, transparency and
opacity, sound and silence, solid and hollow (etc.), are the proper tools of architects’
practice to determine different temporalities within spatial design, identifying
architecture as the territory where this relationship materialises. In this research paper,
references of this concept are investigated through effective examples, which best
represents the architectural design capability to determine dilations, contractions or
suspension in time perception.
Trying to observe these topics from the research in peri-urban and inner European
territories - one of the frontiers of architectural study in Western countries - and
acknowledging that architectural design is a modification of time and not just of space,
suggests architects to apply time-based design strategies which are tailored to the needs
that the 21st century dynamic and unstable context requires.

1. The relationship between space and time according to whom «Einstein supports the strange theory
that two observers in relative motion with respect to each
It is a matter of fact: time and space are connected. Stud- other have different perceptions of time and distances. As
ies from the science, philosophy and literature world well we shall see, this means that two identical clocks, worn by
defined that. The most famous of these, which generated a two similar observers, do not mark the hours synchronously
wide-ranging critical debate in the early 20th century, in- and therefore do not agree on the intervals of time elapsed
volving authors from different cultures and backgrounds, between two fixed events. Restricted relativity shows that
was the one elaborated by Physicist Albert Einstein in 1905 this statement has nothing to do with the precision of
and later expanded, which took the name Theory of Rel- clocks, but rather that it is a true characteristic of the phe-
ativity. There were enormous repercussions of Einstein’s nomenon of time» (Greene, 2005, pp. 24–25).
work on the Zeitgeist “the spirit of the age”, starting with Since the publication of Einstein’s works, time has
that first paper entitled Zur Elektrodynamik bewegter Körper ceased to be just a physical matter and has immediately
(Einstein, 1905). For the first time in history, time ceased to affected the spheres of philosophy and literature, demon-
be an autonomous and uniquely measurable entity and be- strating the extent of this “revolution”. In fact, 20th century
came a descriptive variable deeply linked to the three spa- philosophical literature is full of reflections on this rela-
tial ones. To summarise the thinking of the Nobel Laureate tionship between space and time: after all, they are ob-
in Physics, it is useful to borrow the words of Brian Greene, jectively measurable and subjectively experienced, which is
 Effects of Spatial Modelling on the Perception of time. Definition of Places Through Temporal Typologies

why an inquiry involving the humanistic disciplines lends non of time is the future» (Heidegger, 1976, p. 40), and «the
an aura of greater completeness to the research. Specifi- past does not exist. Everything is simultaneous in our life
cally, in the field of perception and consciousness, some and culture. Only the present exists. In it we recreate the
elements allow us to link «what Kant had defined a priori past and imagine the future» (Ponti, 1960, p. 79). In asso-
data of sensitivity, that is, space and time» (Panza, 2014, p. ciating the notion of time with the discipline of architec-
39). Edmund Husserl, in 1913, started drawing a phenom- ture, we often resort to a schematism whereby the former
enological approach to reality from which some authors pre-exists the latter, configuring itself as a kind of universal
like Henri Bergson, Martin Heiddeger and Dino Formag- container within which facts, objects and buildings “hap-
gio moved to demonstrate how the individual perception pen”. In fact, when we talk about time, we frequently think
of time was influenced by the pure form of space. Topics about its consequences on buildings (i.e. generating forms
such as duration, simultaneity, instantaneity, endurance of decay), or how architecture reacts to its cyclical or linear
and other kind of temporalities can be read as conse- flow - days and seasons, years and centuries - or how archi-
quences of the spatial action on individuals, «once we have tects refer their work to the past. The history of architec-
interiorized our own duration as motion in space» and «we ture itself often shows some issues related to the schema-
naturally form the idea of instant, […] as soon as we acquire tism explained above, which sometimes move it away from
the habit of converting time into space» (Bergson, 1965, pp. a pure critical view (Ugo, 2007, pp. 16–18). But including
52–52). According to Henri Bergson, space is an a priori da- the concepts of memory and tradition in the study of this
tum filled with perceivable objects, while time is not pure subject, it becomes evident how - through the definition of
form: pure duration «is given by the succession of our data some temporalities - history of architecture is not definable
of consciousness» (Bergson, 1889, p. 58) that we place side into a static system but resolves itself into a set of muta-
by side, arranging them spatially (Panza, 2014, p. 39). tions which transforms a present into another one, allow-
Starting from these premises, it can be stated that spa- ing humans to assert their temporal presence by the nat-
tialized time is the fourth dimension of space; this way, ural settlement in space (Rogers & Molinari, 1958/1997, pp.
we encounter the territory of architecture, intended as a 253–254).
discipline concerned with the measurement and manipula- In architecture, thinking about temporalities means also
tion of space through design. Therefore, architecture is cer- embracing a much broader sense of the concept of time,
tainly focused on space, though the project of architecture linked to the notions of space and figure. While space is of-
works is bound to the temporal dimension, meeting vari- ten thought of as homogenous and external to us, «vari-
ous shades of construction phases, perceptive atmospheres, ous qualities that make it perceptible to us are phenomena
and subjective perception of time by the users. But the rela- derived from the presence of a conscious body, such as di-
tionship between time and architecture today is affected by rectionality, envelopment, and orientation» (Judson, 2011,
a crisis of definition «due to the acceleration of processes, p. 38): as also Steven Holl wrote in his Parallax, the ap-
the immateriality of the phenomena, and the simultaneous parent horizon, formed by the superimposition of perspec-
spread of information. The technical and technological ac- tives due to body movement, determines the interpretation
celeration that affects our living and contemporary inter- of space (Holl, 2000, p. 26). The philosopher Dino Formag-
est, directed at the past interpreted as a heritage, decidedly gio, in a series of talks given in a seminar at the Faculty
emphasises the space-time ambiguity of events» (Faroldi, of Architecture in Milan between 1985 and 1986 and col-
2020, p. 20). lected in a 1990 publication entitled Aesthetics, Time and
Since the research is interested in temporality in archi- Design, demonstrates how architecture operates in peren-
tecture and in the cause/effect dynamics of time and speed nial confrontation with the material body and time from
mutations in certain spaces, it is necessary to renounce three pragmatic figural experiences: the figure-image that
the objective and external vision, promoted to conceive the destroys reified object boundaries, the figure-form that is
questions that exist between this peculiar and interesting transformative power, and the figure-matrix that marks the
binomy of space and time and, necessarily, to come across reference to the realm of symbolic archetypes and consti-
the subjective dimension intrinsic to this issue. We will tutes a kind of “matrix” for architecture (Panza, 2014, p.
therefore proceed with the tracing of these effects, attrib- 41). To explain that time is not an entity innate to architec-
utable to spatial forms of the architectural field or tangents tural works but, in some ways, undergoes an influence from
to it. them, it is necessary to reflect on the meaning of the con-
cept of “place”. «Architecture is constituted as a measuring
2. Time and temporalities in architecture element, capable of confronting itself with the landscape
to the point of defining attributions of meaning; the “fig-
The complex relationship between time and architec- ure” […] becomes an element of interpretation of the place»
tural design manifests itself in many ways, some of which (Spagnolo et al., 2016, p. 177). It is therefore a dialecti-
are emblematic of how temporalities are part of the very cal game of construction of meanings: a place is born from
concept of architecture. Moreover, in the sphere of design, the spatial interpretation of an anthropogeographic land-
further typologies of temporalities come into play; after all, scape (Gregotti, 1966/2014, p. 61) in which the human mind
projecting something into the future is a significant feature projects its own emotional and temporal dimension. Con-
of design itself (Gregotti, 2020): «the central notion is that sequently, it appears clear how the concept of identity is
of design, therefore the action and transformation towards
the future» (Ugo, 2007, p. 14). «The fundamental phenome-

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 Effects of Spatial Modelling on the Perception of time. Definition of Places Through Temporal Typologies

linked to the binomial space/temporalities, which is deeply spatial design, «space and time are […] objective quantities.
rooted in the definition of places and territories. In the heart of this relationship, the architect acquires an
Also, technology, as well as architectural composition, extraordinary awareness of the profound energy and oppor-
plays a key role in constituting the relationship between tunity to create time. Without being subject to it; rather,
architecture and temporalities: consider, for example, the organising it, ordering it […]. The architecture of time be-
role of elevators in skyscrapers, which made architecture comes an indicator to define, implement, and design a
out of the simple multiplication of space in height, giving space, since it is an element that possesses time connected
rise to what Rem Koolhaas calls «congestion culture» (Kool­ to physiological rhythms of use.» (Faroldi, 2020, p. 14).
haas, 2001/2004, p. 115). In this way «day and night are rad- By accepting this assumption, it is useful to investigate
ically shortened, time accelerated, experience intensified, where and how those design tools are applied, through
life - potentially - doubled, tripled…»: simultaneity is one some renowned references placed in Italian inner periph-
of the main topics of this building typology, where differ- eries, which can represent the capability of architecture
ent functional programs can coexist, giving birth to a kind to determine dilations, contractions or suspension in time
of architecture which has, in addition to a spatial conno- perception.
tation, strong temporal features (Koolhaas, 2001/2004, pp.
183–200). Monumentality/dynamism
The architect’s activity is mainly focused on the modifi-
cation of space in function of living the places; however, as Starting from the history of graphic arts, spatial research
demonstrated above, a spatial design necessarily involves began to assume the fourth dimension with the Cubist ex-
variations in temporality (and vice versa). Moving away perience. The dynamism and immediacy promoted by the
from the scientific definition of time and space, the inves- Modern Movement and certain avant-gardes (e.g. Cubism,
tigation continues with a reflection on their specific conse- Futurism, Russian Constructivism), subsequently led to the
quence: the perception of time in space. birth of an architectural language focused on geometrical
interpenetration, through the use of diagonals, visual con-
3. Tools of architectural design in inner nections, and anisotropic compositions, capable of manip-
peripheries to operate on time by space ulating the user’s perception. Moreover, history shows how
political entities have used the monumentality of the clas-
If space and time are correlated, then the manipulation sical lexicon to assert and establish an appearance of stabil-
of space - the subject of architectural design - necessarily ity.
affects the perception of time that determines places The power of dimensional features is evident in the de-
through the definition of identity, as previously written. sign of stately buildings of the past, such as the Ducal
But today, there are contexts that are experiencing a pro- Palace in Urbino, a Renaissance factory commissioned by
found “identity crisis” due to processes related to depopu- Duke Federico da Montefeltro, who, with the design of his
lation phenomena: the inner peripheries, significantly dis- own residence and the urban redesign of public spaces and
tant from the centres of availability of essential services streets, wanted to make the entire environment “prince-
(Tognon & Bovati, 2022, p. 90). They are configured as an sized.” Today, observing the village from the valley, one
archipelago of small isolated centres with a predominantly perceives the representative role entrusted to architecture
mountainous or hilly landscape, an important historical- through its capability to define the figure of the city, an el-
cultural heritage and relevant natural and environmental ement common to some later experiences - from the Amer-
components. They present strong topics of criticality re- ican neo-Palladianism of the 18th century to the totalitar-
lated to socio-economic opportunities, low levels of income ian architectural propaganda of the 20th century - with a
and productivity, environmental and seismic risks, demo- shown communication in which the greatness of the build-
graphic ageing, depopulation and poor maintenance of ings and monuments still suggests a sense of suspension in
buildings and landscape: aspects that determine a large time and a sense of bewilderment in space, where people
number of discomforts and consequently lead individuals could feel overwhelmed in front of such majestic isotropic
to accept a series of compromises to be inhabitants. The spaces (Gideon, 2004, pp. 420–439).
role of architectural research applied to design within the
identity redefinition of places turns out to be fundamental, Light/dark
as it is the only discipline capable of manipulating space
Some architectures were conceived and are generated
by fostering the projection of human emotions and percep-
by light. Gothic architecture, for instance, well experienced
tions that determine new temporalities. It is thus possible
the use of candles and stained-glass windows to moderate
to identify architecture as the territory in which this rela-
and vary the perception of volumes of the built environ-
tionship materialises.
ment, in relation to the flowing of time. In this sense, the
After these premises, it becomes clear how necessary it is
perceiver is fooled by the light coming through the colour-
to reason about what can, in the architectural design field,
ful windows, constantly changing during the day.
simultaneously affect spatial conformation and temporal
The UNESCO World Heritage site Basilica of Saint Fran-
perception, thus conferring a precise identity to places.
cis in Assisi is the church mother of the Order of Friars Mi-
Light and shadow, transparency and opacity, sound and si-
nor Conventual, built in a village in central Italy. The XIII
lence, solid and hollow (etc.) are the proper tools of archi-
century basilica can be considered a landmark for the nar-
tects’ practice to determine different temporalities within

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 Effects of Spatial Modelling on the Perception of time. Definition of Places Through Temporal Typologies

Figure 1. A sense of suspension in time. Laurana L., Ducal Palace, Urbino, 15th century a.D. - photo donated to
the authors by Riccardo Abagnale

ration of the previously described hypothesis; indeed, it is a ribbed vaults, giving the experience of living in a sepul-
combination of two churches (known as the Upper Church chre. Entering the lower basilica, one sees and perceives
and the Lower Church, plus a further crypt), where anti- the function of a sepulchral church, in a more intimate
thetical binomials of design tools converge. The case study, atmosphere dedicated to personal meditation. Few open-
while externally showing a gabled facade, the interior of the ings, similar to embrasures, allow the visitor to perceive the
upper Basilica is an important early example of the Ital- space. Though this little presence of outdoor light could
ian Gothic style. This bright and spacious part of the basil- unveil the passing of time, the composition of the place in
ica consists of a single nave with cross-vaulted ceiling, in elevation together with the refraction of light on the vaults,
which the transept and a polygonal apse displays a series alienate the presence of time from the visitor’s perception,
of frescoes by Giotto. This place of collectivity, used to dis- frozen in a continuous present, where time flows in a di-
seminate the contents of the Bible, the place where peo- lated dimension.
ple could meet in their community, vibrant and dynamic,
is characterised by a diffused clear light. On the contrary, Rhythm/continuity
entering the lower Basilica, a visitor immediately sees and
perceives a different flowing of time. The Lower Church was Rhythm is a concept that architectural and music com-
built almost entirely in the Romanesque style: it has almost position have in common. In both cases, through a spatial
no elevation, vaults are widely decorated with dark/intense arrangement of elements (whether musical notes or, for ex-
colours, and the use of light is significantly divergent from ample, pillars) a perceptible temporal dimension is con-
the upper level. It was designed as an enormous crypt with stituted: time compressions and dilations are possible by

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 Effects of Spatial Modelling on the Perception of time. Definition of Places Through Temporal Typologies

Figure 2. A sense of dilatation of time. Basilica of Saint Francis in Assisi, 13th century a.D. - photo by Francesco
Airoldi

increasing or decreasing the rhythm of the elements that cities and the development model they embody, the impor-
constitute and characterise the space. tance of issues related to territorial security, and a profound
An example of the above can be sought in the Parish cultural change resulting from a substantial «inversion of
Church of Santa Maria Assunta in Riola, a project of Alvar the critical gaze» that needs to be leveraged by applying
Aalto located in the Apennines of Emilia, Italy. Due to a clear methodology to architectural-design research (De
the dynamism characteristic of the Modern Movement, the Rossi, 2018, p. 5). It is possible to construct a narrative that
architect designed a system that communicates through emphasises and enhances the fragmented and plural na-
the juxtaposition of elements, their rhythm, fragmentation, ture of the Italian territory, associating the concept of “so-
and verticality. From the outside, one perceives an orienta- cial marginality” with that of “territorial marginality” and
tion of the volumes given by the shape of the sails in the thus giving a strong spatial and temporal connotation to
roof and the figure of the bell tower, which induce the ob- the themes of internal areas (Llop Torné, 2022, p. 18). In
server to move in space and orient the gaze in a precise di- a context in which depopulation and abandonment are the
rection. Inside the hall, on the other hand, space is manip- most consistent socio-demographic phenomena, it is ev-
ulated by bringing about time compression in two different ident how the issue of living should enjoy privileged at-
ways: through the rhythm of the portal structures trans- tention, and how co-living in coexistence with nature is
verse to the nave and through the inclination of the walls, a determining aspect there. If we conceive architecture as
drawing an optical cone in the direction of the altar and in- a possible answer to the problem of inhabiting space (in
creasing visual depth, imparting an acceleration to the per- time) - an assumption that constitutes one of the important
ception of the space-time system. definitions of this discipline (Gregotti, 1966/2014, p. 45)
- the strong relationship that exists between architectural
4. An example of output: some possibilities in design and the social, economic and cultural dynamics that
fragile contexts it can trigger becomes evident. Dynamics which are crucial
to re-establish a co-evolutionary and co-existential con-
While it is true that the gap between urbanised and mar- nection between peoples and territories, bringing the in-
ginal territories continues to persist, it is equally clear that habitants back to be an integral and characterising part of
the latter are no longer considered only as a problem but it: that is, to reconstitute communities capable of project-
also as an opportunity for the future: a new and different ing their own habits, customs and ideas into space, making
perception that stems from phenomena such as the crisis of it a place (Galán Fernández et al., 2022, p. 59).

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 Effects of Spatial Modelling on the Perception of time. Definition of Places Through Temporal Typologies

Figure 3. A sense of compression of time. Aalto A., Parish Church of St. Mary of the Assumption in Riola,
1966-1978 - photo by Francesco Airoldi

Acknowledging that architectural design is a modifica- lishes additional levels of complexity at a larger scale and
tion of time, and not just of space, suggests architects to expands the theme of the research by introducing temporal
apply time-based design strategies tailored to the needs distances alongside spatial ones. Adopting an effective de-
that the 21st century dynamic and unstable context re- sign methodology in relation to morphological temporali-
quires. All the more so, in a significantly sensitive field such ties means acting on altitudes and infrastructures by com-
as the fragile territories of inner areas, great attention must municating - through the project - with the ground line and
be paid to spatial, temporal and perceptual issues, juxta- with the concepts of flows and accessibility.
posing architectural design themes with two particular vi- Second, regarding the concepts of past and future, it
sions that contribute to redefining places through the at- is crucial to remember that in a built environment the
tribution of new identity connotations: one linked to the concentration of significant elements from different eras
perception of present time and one to the ideas of past and produces a heterogeneous landscape that the human mind
future which territories embody. considers rich, representative of the villages and towns of
First, it is clear how in sites far from the hustle and bus- Italy’s inner peripheries. The importance of this combi-
tle of metropolises and the dynamism associated with cer- nation is evident both in cases of conservation and reuse
tain architecture and urban conformations, there is often a projects of existing buildings in established fabrics and in
perception of a present time that flows slowly, defining dif- reconstruction situations in areas affected by natural disas-
ferent social and cultural dynamics. One of the most obvi- ters such as earthquakes and landslides (one of the recur-
ous forms in which spatial variations influence the passage ring themes in the study of inner territories). Environmen-
of time is in fact the morphology of the territory: it estab- tal transformations often show people’s efforts to preserve,

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 Effects of Spatial Modelling on the Perception of time. Definition of Places Through Temporal Typologies

create or destroy the past, to make sense out of a rapid Dilations, contractions or suspensions in the perception
transition, or to build a secure sense of the future (Lynch, of time, as discussed in the previous paragraphs, thus be-
1976, p. 3). It happens that the quality of the personal come effective design actions in the constitution of the
image of past and future time influences individual well- identity of places by means of architecture. There is there-
being and also our success in dealing with environmental fore the possibility of a shift in the meaning of territories
changes, and «the external physical environment plays a in places through the projection in them of individual emo-
role in constructing and sustaining that image of time» tions that arise from the temporal perception of well-de-
(Lynch, 1976, p. 1). However, our strongest emotions relate signed spaces. This awareness represents a fundamental
to personal knowledge, confirming that immediate conti- step towards the goal of re-inhabiting internal areas, as it
nuity and individual memory are emotionally more impor- demonstrates the possibility of influencing the idea and im-
tant than remote time. In fact, our minds cannot retain age that they project in our minds.
everything: memories are the result of a process of selec-
tion and organisation in which we retain what is considered Submitted: June 20, 2022 GMT, Accepted: October 06, 2022
significant and discard what is not. GMT

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 Effects of Spatial Modelling on the Perception of time. Definition of Places Through Temporal Typologies

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