Spatial Narratives: Mass and Voids

Toshika Agrawal
Shri Vaishnav Institute of Architecture
Shri Vaishnav Vidyapeeth Vishwavidyalaya
Indore, India
E-mail address: toshikaagrawal81@gmail.com

Abstract—The paper begins with an overview of a space and its relationship with mass and voids and
how the architect controls the limits above, below, and on all sides of the observer. It tells how from history
the transformation of very basic geometric shapes started to form spaces and voids in masses were
introduced for spatial, functional and aesthetical reasons. It also explains the various spatial experiences
according to human psychology at such spaces and Interdependency and relation between mass and voids
and how they act together positively to form meaningful spaces in various aspects with the help of examples
of buildings of famous architects.

Keywords—Space, Voids, Mass, Spatial relationships, Forms, Relation, Spatial experiences

I. INTRODUCTION
Space is that immaterial essence that the architect envelops, creating a wholly human and finite
environment within the infinite environment of nature. The experiential process of moving through
spaces and decoding the message embodied in Architecture has the potential to nourish the perceiver
spiritually and emotionally, going beyond physical traits and functions of the structure. When a building
is entered, floor, supports, walls, and a ceiling are seen, all of which can be studied and perhaps enjoyed,
while the space, in the sense that one think of it is as void: the absence of mass, filled by air.

II. SPATIAL RELATIONSHIPS

Unbuilt spaces(voids), can be characterized by their relationship with the built mass in the given built
environment. Like built spaces, unbuilt spaces are also characterized by the parameters of evaluating
spatial relationships, and hence can be studied objectively. The space occupied by an object, or within
a built form, is not defined solely by the physical configuration of the physical envelope, but also by
the unbound space around it. Hence, at all times, space is continuously in a state of being split
between the built and the unbuilt.
A. Mass and Voids
Space can be either full or empty. A void is an empty volume, while a mass is a filled volume. Voids
occur in conjunction with masses – they can either be geometrical, or organic. Unbuilt spaces formed by
the creation of geometric forms and shapes can be considered as geometric voids. These play a very
important role in the final composition, because geometric forms have sharp outlines and adjust
themselves in the space articulation. To counterbalance the dynamic interplays of form and space, voids
become significantly important.
B. Deformation of basic forms in Architecture
In ancient times, square, circle and triangle were the prominent shapes. Forms deriving from these
shapes were frequently used, as they were considered to be the most beautiful. Thus, basic geometrical
forms were dominant in the architecture of the ancient times due to this and similar reasons. Since ancient
times, considering the use of basic forms in architecture, it can be said that the pure geometry of form
has been deformed day by day, additions and deductions have increased, and the void effect created in
interior and exterior space is handled not only with functional, but also formal concerns. The basic forms
dominating the architecture in the course of history are reshaped based on the changes in the design
perspective and are transformed under the effect of these changing design perspectives. When we
examine the historical development of architecture, we clearly see that the architectural space and
therefore form have undergone physical and semantic changes.
 The concepts regarding space and form are moved from one to the other in the course of history. Also,
this change that space and form have undergone together should be considered based on the change and
development in theory, discourse, technology, material, time etc. Depending on this development and
change process summarized above, architectural form is also evident to change its expressions.

C. Additive transformation
A form can be transformed by the addition of elements from its volume. The nature of the additive
process and the number and relative sizes of the elements being attached determine whether the
identity of the initial form is altered or retained.
D. Subtractive transformation
A form can be transformed by subtracting a portion of its volume. Depending on the extent of the
subtractive process, the form can retain its initial identity or be transformed into a form of another family.

Figure 1. Adding masses in a simple form to create a Figure 2. Creating voids in the farms
complex form

III. SPATIAL EXPERIENCES CREATED BY MASS AND VOIDS

Spatial experiences that express something are common to everyone, though they are not always
consciously grasped. One feels insecure in a low cave or a narrow space, powerful on a hilltop; these are
psychological and motor reactions that result from measuring one’s potential for movement against the
surrounding spaces, and the same reactions take root even in language.
An infinite variety of such reactions may be summoned by the architect, because the architect controls
the limits above, below, and on all sides of the observer. People entering the architect’s space measure it
in terms of the degree and the quality of their potential for movement. The concept of potentiality is
important, first, because observers can anticipate where they may move merely looking about and,
second, because they can conceive movements that they cannot execute.
A. Scale and Proportion
The scale of an open space affects the perception of built mass in its vicinity. Scale and proportion
are characteristics of any given space, relevant through its size. While scale relates to the user, proportion
relates to the form’s position within and relation with the environment in which it’s placed The same is
true for unbuilt spaces – they are in a constant interaction with the built forms, and hence their scale and
proportion is affected by their own configuration and the degree of enclosure accorded to them by their
surroundings.

Figure 3 Figure 4

Proportion of built mass to unbuilt space changes the Perception of built space changes in respect with vantage point,
perception of both, despite the configuration of built which is determined by size of unbuilt space. Built spaces appear
space remaining constant. bigger and more dominating when unbuilt spaces diminish.

B. Degree of Enclosure
The degree of enclosure of a space can be defined as the extent to which a space can be isolated. A
fully enclosed space creates a cohesive, isolate space, whereas a low degree of enclosure creates a
space which is loosely bound and has a fluid configuration. Degree of enclosure affects the scale of a
space, and in turn is affected by the permeability of a space, and dictates user preference and
comfort in the space. It also affects circulation hierarchy by creating variations in the intimacy
gradient for any given area.

Figure 5 Width of unbuilt space determines scale of built environment and degree of enclosure accorded by each case

C. Spatial Organization
The arrangement of various elements in respect with one another in a given plane is Spatial
Organization. The organization of spaces, both built and unbuilt shapes the experience of the user in
that by affecting the enclosure and permeability of the space. Spatial organization lends legibility to
a space and affects the path finding patterns of the user. It also affects the social and visual
hierarchy of a built environment by providing clear visual cues and axes, along which users align
themselves.
D. Function
A discerning feature of unbuilt spaces is that they have informalized functions. Open spaces in the
urban fabric are considered public-owned recreational pockets, and hence, as an extension, unbuilt
spaces in an institutional campus are informal spaces which aid the function of built spaces. The
usage of unbuilt spaces may be planned, incidental, or ancillary. They also act as climatic aids by
regulating the microclimate through differential heating and cooling, as well as transitional spaces
between two built forms.

IV. RELATION BETWEEN VOIDS AND MASS

Conceptually void is defined as “nonexistence, nullity”, while spatially it gains a different meaning
than its dictionary definitions. Void in space is a “place” incorporating activity. Therefore, this void
created in mass based on space indeed creates a “place”. Or from a different perspective, void itself
shapes the form of the mass and this form shaped by void creates the space. These conceptual
phenomena that void undertakes go well beyond formal classifications. Void in mass can be created
with various reasons like functional, aesthetical, conceptual etc. depending on these relations. The
created void is assembled to obtain various effects in the space. These spatial effects are; balconies,
terraces, entrances, masses taken from the ground, atriums, galleries, courtyards, places connecting
two structures and enabling passage, interior-exteriors paces that are able to create a field of vision in
the whole form, vistas, orientation effects, surprising spaces, etc. As stated above, void mostly
responds to functional requirements, while from time to time it is made only due to the form’s own
aesthetics and the semantic effect it will create. Void in form adds value to the space in many aspects.
These can be summarized as spatial varieties of interior-exterior space (courtyards, entrances, terraces
etc.) and visual utilities of interior-exterior space (façade voids, urban voids, voids empowering
perception…). It can be said that there are differences in the using of void is handled in time.
Considering the course of history, the shaping of void has transformed the architectural form into a
sculptural exposition. Void in the architectural form is used mostly to enable functional requirements.
However, the concepts affecting perception are among the reasons for using voids in design.

Figure 6 Effective use of mass and voids for proper sunlight and wind circulation for each unit.
 Figure 7 Creating voids in a regular mass to fulfil functional aspects.

A. Examples of Mass and void in Architecture

Figure 8. Houses for Elderly People in Alcácer do Sal / Figure 9 Shodan Villa, Ahmedabad, Le Corbusier
Aires Mateus

Figure 10,11 Simmons Hall at MIT/ Steven Holl

 CONCLUSION
The built form signifies rigidity of function and formality of organization, hence indicating the
requirement of the unbuilt spaces to provide development of areas of recourse and social interaction.
These open spaces are areas of optional usage, and hence their design, location and organization are of
utmost importance, and enhance the overall quality of a built environment. Hence, the built spaces signify
the purpose of the built form, whereas the unbuilt spaces or the voids signify the spirit of the place.
Buildings are a direct outcome of the function within, and these functions interpret themselves in the
built form as well as the unbuilt spaces. Besides, voids formed with functional requirements from the
beginning of the Modern Period until today, can be thought to come to the fore rather with aesthetic
concerns in time. Based on the developments in the construction technology in time, the scale of single
voids is observed to change. This change is effective on perception, and at the same time increases the
sculptural effects of buildings.

REFERENCES

 Form, Space and Order – D.K. Ching – Van Nostrand Reinhold – Feb 1996(2nd Edition)
 https://www.britannica.com/topic/architecture/Space-and-mass
 https://experiencingarchitecture.com/2010/06/01/architectural-means-mass-or-void/
 https://architecturality.wordpress.com/tag/solid-void/