“Tectonics” as a Spatial Perception Tool in the Design Process

Introduction

The design process is an intricate structure that is influenced by many different inputs. Some of these inputs can change the functioning of the design process. Accordingly, the end product of the design can be affected within the framework of cause and effect relationship. One of these inputs is spatial perception. It is not coincidental that the processual relations between the perceptual process of the individual and the design process of the designer are similar. While the perception process includes understanding, comprehension, storing information, and reusing the information by processing it, the design process includes understanding data, evaluating data, and developing suggestions. Both the perception process and the design process point to a multi-layered and complex process rather than a linear one. On the other hand, the design is a process in which has a relationship with the environment and try to understand it. While the design process uses current experiences and existent information on one hand, it has the potential to reveal new situations by using “trials” and “probabilities with unknown outcomes” on the other. At this point, following questions has to be addressed; how the design is perceived both during the process and at the end how the space is designed and perceived has an effect that can change the design process. This concept, which is also significant in the education process, is substantially important in order to comprehend the solid-void relationship and to analyze the data of the space. Envisaging the physical presence of space and perceiving this affect the design and design processes. A good evaluation of the data of the space provides more effective and creative solutions in interior design. In addition to the physical existence of space, this perception created by design continues to exist as a cognitive process beyond physical. In interior architecture, these design parameters are located in a very fine line. The formation of the designed space by examining these data well would allow a design that reads the space well and strengthens spatial perception rather than a decorative understanding. At this point, evaluating the offerings of the place well will move the interior architecture away from the 'decorative' approach and helps to create designs that connect and function with the place. In interior architecture, the designed space brings more than just the selection of the 'visible' elements of the space. It is also worth noting that the interior architecture stands at a very different point from the way it is perceived by the general majority. Although interior architects and interior architecture have been striving for years, there are still problematic and misunderstood identity problems. In the 1930s and 1940s, many actions were carried out, such as the opening of educational programs that distinguish interior architecture from decoration (Havenhand, 2004) This identity problem of interior architecture also continues with its comparison with architecture. The stereotyped distinction between architecture and interior architecture has continued as women vs male, structure vs decoration, and as outer vs inner. However, interior architecture should not be perceived as such, interior architecture stands far beyond these classifications (Havenhand, 2004). Yet interior architecture is part of a whole and stands in a very different position than the decorative understanding mentioned. It is very important to break this perception through both educational and design processes. In order for the spatial perception to progress in this direction, the methods applied in education gain importance. Only in this way, with an integrated approach to education, interior architecture can be placed at a point different than “decoration”. In order to achieve this, it is important to establish spatial perception in education within the framework of tools that can provide opportunities for deeper discussions rather than 'superficial' approaches. At this point, it is useful to mention the tools that can be used to create spatial perception.