Prelude Spaces

Spatial Encoding of Prelude Sequences
TABLE OF CONTENT
ACKNOWLEDGEMENT
ABSTRACT
Aim and Objectives
Research question
Methodology
Scope of study
01 UNDERSTANDING PRELUDE
01.1 As a phenomenon
3UHOXGHVZLWKUHVSHFWWRGLIIHUHQWHOGV
02 PERCEPTION IN PRELUDE SEQUENCE
02.1 Idea of space

02.2 Space perception
02.3 Dynamics of perception
02.4 Perception with context and familiarity in prelude
02.5 Perception of movement in space
03 OBLIGATIONS OF PRELUDE SEQUENCE
03.1 Prelude with respect to ancient built spaces

03.2 Space-making elements
03.3 Relationships in space
03.4 Aspects of prelude sequence
1
04 CASE-STUDY
04.1 Hutheesing Jain Temple

04.2 Sangath
04.3
CONCLUSION
BIBLIOGRAPHY
ILLUSTRATION LIST
1
ACKNOWLEDGEMENT
2
ABSTRACT
Music as a mean of communication with the introduction of prelude evoked

the emotions and reactions from the audiences. The qualities of experi-
ences are communicated through that form of communication. As a mean of
communication the encodings discussed answers the question of WHEN and
WHERE
3
4
The proem is the beginning of the speech, like a prologue in poetry

DQGDSUHOXGHLQWKHXWHSOD\LQJIRUDOOWKHVHDUHWKHEHJLQQLQJVDQG
pave the way ,as it were. for what follows. indeed, the prelude is like the
SURHPRIHSLGHLFWLFVSHHFKHVIRUDVWKHXWHSOD\HUEHJLQE\SOD\LQJ
whatever they can execute skilfully and connect it with the keynotes, so
DOVRVKRXOGEHLQHSLGHLFWLFVSHHFKHVWKHFRPSRVLWLRQRIWKHSURHP
(one should) say at once whatever one likes, give the keynote, and con-
tinue. 1
- Aristotle
1 Jebb, Sir Richard Claverhouse. The Rhetoric Of Aristotle, UK: Cambridge University Press, 2014.
p180
5
01 UNDERSTANDING PRELUDE
01.1 AS A PHENOMENON
Prelude is a term having several meanings According to the Oxford En-

glish dictionary prelude has its origin from French prelude and also from a
Latin word Praeludere, means to play before which was mainly the function of
prelude till many centuries.
It connotes the general meaning of a preliminary performance, action, event,
or condition, coming before and introducing one of more importance, as an
introduction or a preface 2 prelude in generic term has the prefatory role.
Plainly from the root, prelude means - a piece that is improvised for pre-
paring the audience and setting of mood for the work to be followed. Prelude
provides a setting with a tone, introduces the charactes and information need-
ed to understand that characters. Prelude as a phenomenon has the charac-
ter of changing according to the context or the surrounding. It can be variable
and/or inconstant. The phenomenon of prelude is just not a physical entity, it
has the power to manipulate ones perceptions and emotions. In the passage
by Aristotle, he suggests characteristics of prelude other than its introductory
function, its nature of improvising and the establishing of keynotes for the
work piece.
Thomac Mace in his work Musicks Monument (1676) suggests the phenome-
non of prelude having a free formal structure in music:
The praelude is commonly a piece of confused, wild, shapeless, kind of intri-

cate Play (as most use it) in which no perfect form, shape or umiformity can
be perceived; but a Random, Business, Pottering, and Groping, up snd down,
from one stop, or Key to another; and generally so performed, to make Tryal
[sic], whether the Instrument be well in Tune, or not; by which doing, after they
have completed their Tuning; They willl (if They be master) fall into some kind
of Allmaines, or Fansical Play, more Intelligible; which (if He be a Master
2 Siew Yuan Ong. The Piano Prelude in the early twentieth century, U. of Western Australia, 2005. p.4
6
able) is a way, whereby He may more fully, and Plainly show His excellency,
and Ability, than by any other kind of undertaking; and has an unlimited and
unbound Liberty; In which he may make use of the Forms, and shapes of all
the rest3
01.2 IN DIFFERENT FIELDS
PRELUDE WITH RESPECT TO MUSIC
It is a small to medium length varying instrumental piece, which includes

piano, organ, lute, guitar etc. It can act as an introductory movement to different
ritualistic ceremonies, theatrical work or vocal musics. Prelude can work as an
independent piece of work without even having a prefatory function to it. Pre-
ludes began as small short pieces that could be improvised and played before
WKHXWHRURUJDQ
The new grove dictionary of music and musicians elaborated the term prelude:
a term, of varied application that is, in its original usage , indicated a piece that
preceded other music whose mode or key it was designed to introduce; was
instrumental and was improvised (hence the french preluder and german pra-
ludieren, meaning to improvise). the term praeambulum (preamble) adds the
rhetorical function of attracting the attention of an audience and introducing a
topic.4
Prelude was thought as a welcoming music. It is a pastoral, calm, harmo-

nious music which is designed for alleviating the stresses of travelling, to set a
tone of relaxed composure; it also lets the person know where the ceremony
will be located. They were used to create and establish a tempo and key to take
people to a desired state through music. It has another function of setting the
mood which was described by the Italian prose writer of 17th century - Jesuit
Danello Bartoli. He wrote - this is useful not so much to examine the instrument
3 Westerby, herbert. The history of pianoforte Music, London: Keagan paul, Trench, trubner and co.
ltd,1924
4 Ledbetter, David & Ferguson, Howard. Prelude in The New Grove Dictionary of music and mus-
cian, 2nd edition, London: Mcmillan Publisher ltd, 2001. p.291
7
in all its strings, to see if they are in tune, but to attract the listeners attention and
attach their soul to their ears for real piece which follows.5
$YHU\VLJQLFDQWFKDQJHZDVVHHQZKHQSUHOXGHVRQSDSHUKDGDVHSDUDWH
DQGVHOIVXIFLHQWSLHFH'XULQJWKHEDURTXHHUDSUHOXGHVZHUHVWLOOXVHGIRU
introducing something. In the time of Chopin, the romantics were greatly fasci-
nated with prelude and the idea of prelude to what? In the symphonic poem by
Liszt, les preludes, has a question in the beginning What else is our life but a
VHULHVRISUHOXGHVWRWKDWXQNQRZQ+\PQWKHUVWDQGVROHPQQRWHRIZKLFKLV
intoned by Death? 6
PRELUDE WITH RESPECT TO MOVIES
A prelude is created in dramas to condition the viewers mind. In the movie,

eternal sunshine of the spotless mind, the sequences take viewers into an idio-
syncratic visual language that continues to build, a language in which temporal
shifts may occur spatially. It builds up the drama and mood before reaching the
FOLPD[6HTXHQFHVLQPDQ\PRYLHVDUHPDQLSXODWHGWKURXJKDVKEDFNVFORVH
XSVGLVVROYHV$SUHOXGHLVFUHDWHGZLWKWKHLQWHQVLHGVHTXHQFHDQGSUHSDUHV
the viewers for the overall structure. The phenomenon of prelude is to heighten
WKHH[SHUHLQFHLQWKHPRYLHV,WLVOLNHDVWRU\KDYLQJH[SRVLWLRQVFRQLFWVIRUH-
shadowing, triggering points, rising actions along with climax. Prelude becomes
the narrative sequence which unfolds before the audiences. It is small episodes
weaved together for overall experiences. The sequence of preludes create
ephemeral spaces to impact the human mind. There are situations constructed
in movies to conditions the viewers. Spatio-temporal constructs are build that
are already in human mind which results in impacting the emotions and senses
of the audiences.
5
6 Turuskin, Richard. Music in the nineteenth century-oxford history of western music, NewYork: Ox-
ford University Press, 2010.
8
PRELUDE WITH RESPECT TO TIME AND MEMORY
Jo lee, an anthropologist suggests that walking can be understood as a per-

sonal biography: the body moves, in part, due to its links between past, present
7
and future in a life Memory can be understood with time, in present past
and future. Memory is within the elements and forms of the space. Memory is
related to temporal and spatial sense that people build to live their lives. Pre-
lude with respect to memory and time is an experience about what was about
and could be about and what existed. Things and spaces can be experienced
through memory. Memory becomes an element of space.
Memory cannot be designed but architects and designer can read and incor-
porate memory. The aspect of identity and memory, content and faith of cer-
tain community are registers by the space and after a time becomes symbols
which can be understood by everyone. According to the introductory nature
of prelude, memory of a space becomes the preludeeven before reaching the
space, and that becomes the starting point to experience the prelude relating
to a space.
7 Schine, Jennifer. Movememt, Memory and Senses in the sounscape studies

(http://www.sensorystudies.org/sensorial-investigations/movement-memory-the-senses-in-sound-
scape-studies/)
9
PRELUDE WITH RESPECT TO SOUND
The steady beat of a drum can help to induce trance; more rhythmic tones
can serve as a prelude to movement or dance. Rhythm - even that of clapping
hands or stomping feet invite movement. Like turbulent and wispy cloud, the
IRFXVHGVRXQGRIDXWHRURERHFDQEHDQLQWHUOXGHEHWZHHQHYRFDWLYHVRXQGV
or a prelude to a silent prayer.8 Music and musical instruments have qualities
to attract towards them and evoke emotions among the users. Sound can be
heard even before entering the space which invokes and conditions ones mind.
It attracts people towards themselves inturn becoming a prelude. Sound can
be descirbed as an auditive experience that can be understood with respect to
location and distance. Sound as a prelude makes the person aware about the
space. Sound, here has a function of communication. Sound is encoded within
the built environment through different physical and natural factors, such as the
VRXQGRIPXVLFDOLQVWUXPHQWVZDWHURZLQJVORZPXVLFRUWKHELUGVFKLUSLQJ
The sound creates an atmosphere which lasts for some time among the people.
J7KHULQJLQJRIEHOODOORZVWKHVRXQGJ7KHVRXQGRIPXVLFDOLQVWUXPHQWV
WRKDYHDQHSKHPHUDOSUHVHQFHZKLFKHYRNHWKHGHVLUHGIHHOLQJGHSHQGLQJ
LVH[SHULHQFHGDVDSUHOXGHXSRQWKHFRQWH[W+HUHWDPLOLQVWUXPHQW
HYRNLQJDUHOLJLRXVDPELHQFHLQ
.DSDOHHVZDUDUWHPSOH&KHQQDL
8 Kryder,Rowena Pattee. Sacred ground to sacred spaces, New Mexico: Bear and Company
Inc,1994. p.89
10
(YHU\WKLQJLV,EHOLHYHVLWXDWHGZLWKLQDSURFHVVHYHU\WKLQJLVLQPR-
WLRQZLWKDIDVWHURUVORZHUVSHHGLWLVDSSOLFDEOHZKHQZHDUHGHDO-
LQJ ZLWK VRPHWKLQJ SHUVRQDO VXFK DV KRZ ZH SHUFHLYH D JLYHQ VSDFH
ULJKW KHUH DQG QRZ RU KRZ ZH ZLOO EH LQWHUDFWLQJ ZLWK DQRWKHU SHUVRQ
WRPRUURZ9
2ODIXU(OLDVVRQ9LEUDWLRQV"
9 Perren, Claudia and Mlececk, Miriam. Perception in Architecture: here and now, UK: Cambridge
Scholars Publishing, 2015. p.x
11
02 PERCEPTION IN PRELUDE SEQUENCE
Studying the phenomenon of prelude and what it is obliged to do in different

art form, the phenomenon of prelude forms a part of spatial narrative. It has a
narrative nature to it. It is seen as a preceding layer to the one to be followed.
The phenomena is an experience of conditioning ones mind before reaching
the succeeding space, whether known or unknown. The sequence of preludes
build up a series of situations in a space.
There is an implied narrative in whichever form, which combines the events
and interpretations in space. The representation of space has been in ques-
tions since the development of architecture and to understand the role of pre-
lude, one must start from understanding the idea of space and interpretations
of space.
02.1 IDEA OF SPACE
Understanding the basic idea/concept of space is very important in architec-

tural practice and theory. Space is often described as a presented space and/or
experienced space. Till nineteenth century, space was mainly discussed about
presented space, where its proportion and geometry along with aesthetics were
dealt with. The space was thus appraised and analyzed as the human percep-
tion was not taken into consideration but rather the proportion of the body was.
While the presented space gives importance to the concept of geometry, ex-
perienced space remains more in line with the idea of space. Such experiential
space is created as a result of the dynamics between individuals, subjects and
the presented space. Otto Friedrich Bollnow cites Martin Heideggar who articu-
lated the relationship between man and space on a fundamental level,The sub-
ject if well understood ontologically is spatial.10 In a space, the man is the origin
as well as the lasting center of it. These spaces are created through a range of
activities, movement or the mans personal dominion; fundamentally through
the perception of the elements of space.
10 Aho, Kevin A. Heideggers Neglect of the body, NewYork: State University of NewYork Press, 2009.
p.34
12
Space is understood as being conceived or as a container of all things.

Space conceived as a universal container of all things is that in which each
body subsists and has its being or could have its being. space is that through
ZKLFKDOOWKLQJVDUHXQLHGRUWKDWLQZKLFKDOOWKLQJVDUHSHUFHLYHG11 Under-
VWDQGLQJWKHUHODWLRQVKLSEHWZHHQDYLHZHUDQGDZRUNRIDUWOHGWRQGLQJWKH
new preoccupation with space. This was determined by the moving of the body
in the space. Robert Vischer, Theodor Lipps and Adolf Hildebrand theorized
that: The spatial dimension rapidly became a central preoccupation for those
interested in understanding the special conditions of architecture and art that
while perceived visually, was experienced in space.12
MAN AND SPACE
Space is an element from humans perspective. A space is conceived differ-

ently yet related to the being of space by a human whilst standing in the space.
This space can be understood by studying the movement of time and place.
Otto. F. Bollnow argued that space gets evolved with the environment and the
subject (Human being) and that it is not formed from the start. It is important
to understand that because the space is evolved and henceforth becomes a
medium to transmit something between the subject and his environment, what
is that something that is transmitted? There is something more than just the
human being that is present between the man the space. It is the intangible
and invisible. The dimension of space is revealed by the Human space, both
physically and psychologically or the physical and psychological dimension of
space is revealed by the human space.
([SHULHQFHFDQEHGHQHGDVWKHH[FKDQJHDQGDPDOJDPDWLRQRIWKHREMHFW
and the subject. It is believed that as we enter a space, the space enters us.
There should be a relationship constructed between man and his environment
to establish a meaning. And studying prelude/ sequence of prelude in space
can be one of the method in which it encodes a space relating to another space
by giving meaning to the elements which might determine the actions and events
in space.
11 Conlon, Thomas E. Thinking about nothing, Chicago: The Saint Austin Press, 2011. p.132
12 Vidler 1998. pg-103
13
J
J3HRSOHVWDQGLQJLQIURQWRIWKHSURSRUWLRQPRGXOHE\OHFRUEXVLHUZKLFKVKRZVWKH
DELOLW\WRRUFKHVWUDWHDEDODQFHEHWZHHQPDQDQGHQYLURQPHQW
SPACE AS AN ATMOSPHERE
Atmosphere can be understood as an exchange between the material or the char-

acteristics of the place and the perception and the imagination of the human .People
tend to comprehend the atmosphere even before they notice and identify the details
and understand them. A person may have visual images of the space or emotional
approach but might not be able to describe the spaces characteristics. Space is thus
the creator of a setting where the essence of the space is felt by the people (and their
mood is conditioned.)
14
Zumthor suggests that an atmosphere is mainly perceived through human emo-

tional sensibility, a form of perception which according to him is needed to help them
survive. An experience is created through atmosphere. An individual reads the atmo-
spheres narratives and temporal layer as a setting as it connects to their past
seen images. An atmosphere is also created with spaces that do not hold any
aesthetic value. Such an atmosphere is created by rhythms, material, scale,
colour, light. This is because they relate to the perception and manipulation of
objects using the senses of touch and proprioception.
J,QQHUFRXUW\DUGJ$WPRVSKHUHFUHDWHGZLWKWKH
3DOD]]RWULVVLRQREDVORQLQWHQVLW\DQGPRRGLQVWXGHQWVFDIH
Zurich
15
02.2 SPACE PERCEPTION
Space perception is the process where humans are aware of their body in
relation to the surrounding objects. It prompts the human a means to move
and orient in the space by communicating different meanings like the depth in
a space or the distance.The sensory modalities such as sight, hearing, touch
and smell play a dominating role in spatial perception in humans. According to
Joe Dicke, The introduction of a system of basic orientation, which includes
the sense of above and below, in-front and behind or left and right is important
in spatial perception.13 These senses are trained by the human (individual)
to perceive their environment and then orient themselves. The deciding factor
between these interactions becomes movement.
Complex spaces can be understood with movement and vigorous assess-

ment. Prelude also help to form an idea of the space and the linked atmosphere
in ones mind. As the movement in space takes place, the sensory organs ac-
tivate which in turn helps to perceive the complexities of a space in a clearer
way. With the motion, not only the space is comprehended easily but also the
optical illusions are resolved. It also helps perceive the space. Space can be
GHQHGDVDQDPRXQWRIUHODWLRQVKLSVWKDWDUHH[SHULHQFHGEHWZHHQWKHSRLQWV
$OVRWLPHLVVLJQLFDQWWRWKHSHUFHSWLRQDQGLVQRWFRPSDUDEOHZLWKWKHGL-
mension of space.
KINESTHETIC DIMENSION IN SPACE
Kinesthetic is termed as The sensation in movement or strain in muscles

or joints. A person when in a given space locates himself through his sense of
orientation. He will try to acquaint with the space. Here Kinesthetic helps him
to understand the space in a complete manner. Human body is considered as
a referral point to experience and perception of the built architectural space.
Often while conferring about the senses of our bodies, kinesthetic dimension is
missed out on.
13 Boetgerr,Till. Threshold spaces: Transition in architecture, Switzerland: Birkhauser Verlag

GmbH,2014. p.17
16
In the book The eye of the skin by Pallasma, the author argues our tactile
senses cannot be ignored, but should be given an equal priority as visual sens-
es. He further states that the architecture creates a visual manifestation rather
than what a body conceives it. Marleau Pontys beliefs that the center of ex-
periential world is human body is also rooted by Pallasmas philosophy (of the
relationship between body and space). These beliefs are further discussed by
Kearney, stating we chose the world and the world choses us14, that is human
bodies become the living centers of this world at the basis of intentionality. This
system which he discussed is the sensory experience.
The movement in the architectural building divulges new spatial experience

making the experience more aesthetic and kinesthetic sensorial quality for the
occupant to inhabit. It is also very critical component which has the capability
to increase the senses and to satisfy the environment preference. Furthermore
it can be understood that there is a continuous collaboration that the body and
its movement share. This movement also enhances the mental image of the
human uniting it with the experience of the environment to form a singular ex-
perience.
J.LQHVWKHWLFSKRWRJUDSK\E\DUWLVW.ULVWLQ6PLWKERGLHVRIWKRXJKW
DQLQWHOOLJHQWERG\ZKHUHWKHERG\VWKRXJKWVDUHUHDOL]HGWKURXJKPRYHPHQW
14
17
02.3 DYNAMICS OF PERCEPTION
Maurice Merleau-Ponty emphasizes this simultaneity of experience and sen-

sory interaction as follows: My perception is [therefore] not a sum of visual,
tactile, and audible givens: I perceive in a total way with my whole being: I grasp
a unique structure of the thing, a unique way of being, which speaks to all my
senses at once15. Perception grants a sense of distance in terms of near-far,
datum, and orientation that reinforces the experience. It occurs substantially
WKURXJKPDNLQJXSE\WKHSDVWUHPHPEUDQFHV. And so though it is substan-
tially predictive, surprises, deviations and deceptions do occur.16
A) Sensorial perception
B) Notional/ associational perception
C) Haptic perception
A) SENSORIAL PERCEPTION
Perceptual means to be aware through sense about something. Human be-

havior and the architecture of a building are interlinked to create an experiential
atmosphere for the user. Sometimes the senses of hearing and smell and the
tangible becomes more important that the sense of vision.
+HDULQJ
Hearing is not just associated with the areas of entertainment but plays differ-
HQWUROHVLQGLIIHUHQWDUHDVVXFKDVWKHPDWHULDOVXVHGIRURRULQJDQGFHLOLQJVDW
ZRUNSODFHVVWDLUFDVHVHWF)RUHJDZRRGHQJUDYHORRUPHHFKRWKHYLVLWRUV
footsteps but change in material such as asphalted path, such a message is no
longer delivered. Such auditory experiences sometimes can be felt if one closes
their eyes to remove the governance of the visual world. The echo adds to the
understanding and appreciation of the space as much as the visuals, although
the acoustic percept can be as a frequent background experience.
15 Merleau-Ponty, Maurice.Sense and Non-sense, Illinois: Northwestern University Press, 1964.

p.50
16 Gautam Shah, Space perception - through seeing, hearing and touching (online article)
18
Some of the experiences can be felt in the dark depths of a cathedral where
the sound of organs makes us acquainted to the space. When in circus, the
suspense leaves us staring alone but the burst of applause after the suspense
unites us with the crowd. The sense of hearing provides a temporal continu-
um. An architectural experience silences the external noise. Similarly at times,
silence is also used to create an atmosphere. A serene atmosphere is experi-
enced in such spaces. As the external noise gets silenced by the architectural
experience, one focuses on ones own being
J7KHVRXQGRIZDWHUWKRXJKVSDOVKLQJRIZDWHUE\WKHJ7KHVRXQGLVH[SHULH
YROXQWHHUVLQDVSDFHQFHGWKURXJKVSDWLDO
SURSRUWLRQ1RWUH'DP
Paris
4) Vision
Sight is considered on top above all the senses. Sight is the most primary
sensory aspect that lets a person experience the characteristics of a space
ZKHUHDV WKH RWKHU VHQVHV DGG WR WKH YLVXDO VSDFH -XKDQL 3DOODVPD GHQHV
the use of sight above any other sense as ocular centrism, the concept which
occurs in architecture where the world is appreciated by people only with the
visual sense. He further stated that this should not be so, since there are varied
UDQGRIPDWHULDOVDQGWH[WXUHVWKDWFDQFDXVHLQQLWHVHQVDWLRQVLQDUFKLWHFWXUH
which is why one should use all the senses. In his book, he states that all the
senses are an extension of sense of touch, where the senses are specializa-
19
tions of the skin tissue and hence all the sensory experiences are different
ways of touching.
JWKHHIIHFWRIOLJKWDQGIRUPLQJJWKHP\VWHULRXVQHVVFUHDWHG
WKHVKDGRZLQ,,0$WKURXJKWKHYLVXDOVRIOLJKWDQGVKDGRZ
EDUDLPDPEDUDOXFNQRZ
Shadow is essential part of sight which can determine the depth and distance.
The outside belongs to the sun and on the inside people live and work. In or-
der to avoid protection from the sun I invented the idea of a deep intrados that
protects the cool shadow.17 - Loius kahn on designing IIM-A
3) Touch (tactility)
The architectural forms and textures are perceived by the sense of touch.
Through vision things are not experienced as much so as through touching
materials. One experiences the tactile contacts in day to day tasks. A person
standing or walking is in permanent contact with the ground making him feel the
VXUIDFHVPRRWKRUURXJKKDUGRUVRIWDWRUVORSLQJ":KHUHWKHVHQVHRIYL-
sion helps us to see, it is through touch one gets to feel the object and examine
the detailed characteristics such as the weight, textural quality of the surface or
the form. Different parts of the human body will gather different types
17
20
of information. The hands, the buttocks, the skin help the human to understand
different characteristics. The hands get drawn to touching the smooth vertical
elements, sculptures, tiles columns etc. and caress them, while the buttocks
me tend to draw to certain formal layouts of steps, plinths of benches and seats.
7KHKRWFROGSOHDVDQWXQSOHDVDQWVWXIQHVVRUWKHIUHVKQHVVRIDLUDOVRRIIHUV
many concerns for the designs.
JWKHVSDFRUULGRUZLWKWKHWH[WXUHJWKHVHQVDWLRQFUHDWHGWKURXJK
SDWWHUQPDNLQJDQLQWHUHVWLQJHOHPHQWWRXFKLQJEDUHIHHWRQWKHJURXQG
IRUPRYHPHQWWKHOHHODKRWHO'HOKL
In Praise of Shadow, Junichiro Tanizaki mentioned that Japanese cooking is

inseparable from shadows:And when yoken is served in a lacquer dish it is as
if the very darkness of the room were melting on your tongue In olden times
the blackened teethof the geisha and her green-black lips, as well as her white
painted face,where intended to emphasize the darkness and shadows of the
room.18
18 Hadjiphilippou, Panagiotis. &RQWULEXWLRQRIYHKXPDQVHQVHVWRZDUGVWKHSHUFHSWLRQRIVSDFH

(academia.edu)
21
4) Taste
Oral sensation in terms of architecture means the mouthwatering feel one

may sense just by the sight of appealing materials that are used. The visual
images perceived get transferred to taste; certain colours used in the building
and the delicate details also evoke this sense.
6PHOO
The nose makes the eyes remember. Perfumes of gardens, the smell of wood or
concrete materials, the smells of cooking, incense in temple, dust, damp smell iden-
WLHVWKHSODFHVDQGVSDFHV7KHPHPRU\DQGLPDJLQDWLRQDUHDOVRVXSSOHPHQWHG
Sometimes a particular smell can also make one unknowingly re enter a space which
might have been forgotten by retinal memory. Also when in a space, with the move-
ment smell can also help the human to understand the depth by gauging the intensity
22
B) NOTIONAL / ASSOCIATIONAL PERCEPTION
People tend to discover,dicipher and create meaning in social relations,

formed by their social practices- the things they do together. With Markus
statement Hillier indicates that buildings carry social ideas within their spatial
forms. The basic premise of semiotic approach to architectural analysis is that
architecture, like language is comprised of system of signs for communication
of information. As in language, the meaning of this information is transferred
E\PHDQVRIDFXOWXUDOO\VSHFLFVHWRIFRQYHQWLRQVRUFRGHV19 In architecture,
the communicating focal points are created through different associations of
colours, narrative sculptures, geomtric lines and patterns.
Form, sculptures and motifs are associated with ideas in many culture, not
merely as a sign but as a symbol of metaphor. A network of associations is
created combining the myths and poetry with the built spaces and scultpures,
binding forms together. The interpretation of the ideas are tied to the physi-
cal realities of architecture, and the the forms are given a concrete meaning.
People tend to attribute meanings depending upon seeing the architecture.
Different people can have different experiences based on the perception of
association and it talks less about the space and more about the individual and
the past experiences. hence how can the prelude space be studied beyond
being subjective?
Perception can be distinguished between two types of perception by as-

sociation; an association which is external to our being, a kind of imposed
association, which is passive and bound; and association which is internal,
self-motivated, active and free. an external association would be that imposed
from without. Internal association is more instantaneous and instinctive while
external association requres ponderance and interpretation.20 Notional or as-
sociational perception depends upon the way of seeing and has the power of
explanation. the perception in a prelude sequence reveals the patterns, the
orders developed through the time. Symbolic meanings are interpreted through
the spatial elements and some symbolic forms which expresses the spatial
narratives.
19 Kent,Susan. Domestic architecture and the use of space, NewYork: Cambridge University
Press,1990. p.46
20 Eva Perez de Vega. Experiencing Built space: affect and movement, masters thesis. pg-9
23
JWKHSURFHVVRILQFUHDVLQJYLPDQDVFRQYH\HGE\WKHSURJUHVVLYHPXOWLSOLFDWLRQ
LPSO\DWUDQFHOLNHHIIHFWZKLFKEHFRPHVPRPHQWDULO\WKHIRFXVRIDWWHQWLRQXOWLPDWHO\
EXLOGLQJXSDXQLHGWRWDOLW\
24
6HPLRWLFV
Humans decipher meanings from their everyday life and the mental image
created, enables to assign meanings to it. The users learn through experience
and encode through their knowledge. 6LQFHPHDQLQJLVGHGXFHGRXWRIWKH
DVVRFLDWLRQWKDWJUDSKLFVSRVVHVVZLWKWKHREMHFWV\PEROL]HGDWHQVLRQ
EHWZHHQWKHV\PERODQGWKHVLJQLHGLWLVLPSRUWDQW WRXQGHUVWDQGKRZ
VXFKDVVRFLDWLRQVDUHIRUPHG21 People have associated and symbolised
the meanings of different graphics according to their culture. the symbolised
graphics are the abstractions developed from the complex realities. Symbol-
ism is a powerful tool to comunicate with its nature of being simpler.
The power of associations was seen during the post-modern period, through
the games of representation and semantics. One such architect, Robert
9HQWXULZKRWULHGQGLQJYDOXHLQDUFKLWHFWXUDOODQJXDJHWKURXJKSDVWKLVWR-
ry. many precedents were used in his works - which are externally motivated
associations.
JD6\PPHWU\ZLWKWKHSURSRUWLRQLQWKHIDFDGHDWWKHVDPHWLPHDV\PPHWULFDO
DUUDQJHPHQWZLWKWKHZLQGRZVF7KHV\PHWU\LVPDLQWDLQHGZLWKWKHHTXDOQXPEHURI
ZLQGRZSDQHVRQERWKVLGHVE$UFKFXWLQWKHPLGGOHVWLOOVLJQLI\LQJWKHGRPLQDQFH
RIHQWU\EXWQRWWKHVWUXFWXUDOLQWHJULW\G&KLOGOLNHUHSUHVHQWDWLRQRIWKHKRXVH
21 George, Abraham. Development of symbolic pedagogical tools for communication in architecture,

Calicut: University of Calicut, 2005. p.24
25
JWKHIDFDGHRIWKHYHQWXULKRXVH
The symbols and associations right as ones eyes travels nearer to the front
entry facade, notices the arch, signifying the entry and structural integrity.
What it suggests is the event of entry. 7KLVIRUPVDSUHOXGHKLQWLQJZKDW
PLJKWFRPHQH[WLQWKHLQWHULRUVDQGLPSRVHDVSDWLDOH[SHFWDWLRQ. The
combination of door, window, chimney and gable is used to represent the sym-
bolic image of a house which represents certain ideas such as-
1) the childlike representation of the house is a suggestion of the architectss
relationship with his mother; a personal relationship of architect with the client.
2) architect explored the vernacular architecture of pennsylvania through sim-
SOLHGYHUVLRQ
Encoding of prelude sequence can be through coded meanings which are

derived from variety of sources including sensible form, logic of structure and
expectation regarding function. Language conveys its information through or-
ganization of coded sets whose signs, whose meaning is accepted by cultural
conventions. Architecture like language may also be comprised of a culturally
VSHFLFVHWRIVLJQV$OORIWKHEXLOWHQYLURQPHQWWKXVFDQEHWUHDWHGDVDVH-
miotic system in which all the aspects of the building communicate information
to the observer about the environment, society and accepted behavior. Under-
standing a symbolically communicated message depends not only on the level
of redundancy but also on the context of transmission. Coded meanings are
derived from the relationship between the objects. Built environment is a sign
system which affects all the human senses. the symbol of labyrinth existed
in many culture depicting the rituals and spirituality. many cultures consider it
as a sacred symbol that suggest the consciousness. labyrinths impacts ones
orientation and circulations which unfolds, reveals, conceals the space.
26
JV\PERORIODE\ULQWKJ
7KHHIIHFWRISUHOXGHLQWKHVSDFHLVPRUHZKHQWKHVHV\PEROVDQGQDU-
UDWLYHVFXOSWXUHVH[SUHVVWKHWKRXJKWVHPRWLRQVDQGEHOLHIVE\FRPPX-
QLFDWLQJWKHLUXVHUVLWVUHOHYDQFH
JGRRUZLWKVSLNHVV\PEROLVLQJDVLJQRIZDUQLQJJ,7&0DXU\DGHOKLWKH
LQ0DUDWKDIRUW3XQHSDLQWHGFHLOLQJVKRZLQJWKH
DVVRFLDWLRQZLWKLQGLDQ
culture
JFRPPXQLFDWLQJWKHVWRULHVWKURXJKPXUDOLQVDQFKLVWXSD
27
C) HAPTIC PERCEPTION
J3HUFHSWLRQFUHDWHGWKURXJKJ%DUHIHHWSK\VLFDOO\LQFRQWDFWZLWKWKHWH[WXUHG
SK\VLFDOFRQWDFWLQPHFFDVXUIDFH
The physical or the haptic perception, the notion of haptic comes from the
greek word haphe which means related to the sense of touch. Having previous-
ly placed its primary emphasis on visual knowledge and perception, the focus
of spatial understanding has shifted to a tactile and positional awareness. Peo-
ple gain environmental understanding from tangible physical experience, from
coming in contact with natural and built elements, and from moving through
spaces, as well as from seeing objects in space. whole sensory envelope cre-
ates in us the sense of spatiality.22&XOWXUDOO\RULQGLYLGXDOO\LQXHQFHGWRSLVWLF
learning styles shape both perceptual priorities and associated meanings.
Prelude to a space also governs the recognition of different features like the
textures and edges. there is also an exchange of energies through temperature
or vibrations). The consistency of touch is governed by duration and use of
limbs that show better reception to touch. Touching helps us derive the infor-
mation about our environment and to experience it. In architectural discourse,
the sense of touch enhances the visionary experience, through touching the
materials. The architectural forms and textures are perceived by the sense of
touch. While touching is important, sometimes it is not necessary to touch an
object to know what it feels like.
22 Eithne oNeill, Maire. Corporeal experience: haptic way of knowing , Bozeman: Montana State
University
28
As presented in Experiencing Architecture by Steen Eiler Rasmussen,

tactile memories are built by the humans. We store the feeling of the touch of
materials like stone and brick. We can tell by the visual texture of an object how
it is going to feel when we touch it. Hence with different material we start asso-
ciating and perceiving them with different feelings and therfore the perception
in pelude helps in guiding and increases the expectations with moving forward.
For e.g. we perceive a wall made of concrete as cold and rugged where as a
wall made of wood can be perceived as warm and somewhat smooth. Further-
more the tactile sense is implemented in architecture for various purposes,
such as the movement. The change in the feeling of the ground surface can
indicate the user whether they need to stop or change direction.
29
02.4 PERCEPTION WITH CONTEXT AND FAMILIARITY IN PRELUDE
Words are only meaningful when they are viewed in relation to other
words. Therefore even when only one word of a unity changes, the mean-
ing changes23
- Beaver (2007)
Spaces tend to impart and derive meanings which exists within the chorus of
contexts. Context can be described as the combination of events/circumstanc-
es or phenomenons. And it can also be framework, setting or a situation. The
context provides with a completeness, it emerges when the objects meaning
is clearly expressed; the role of object/elements becomes a part of the whole
(context). The belief behind contextualism - according to Nesbitt (1996) was
that context can be understood with the knowledge it is associated with. within
the context, the part should have a strong relation with the whole, it gives
meaning to it and appropriately placed and structured, in their absence, there
ZRXOGEHGLIFXOW\LQUHFRJQLVLQJDVDZKROH+HQFHWKHHOHPHQWVWKDWPDNHWKH
whole are integral part of it. Context is therefore the relations that makeup the
entirety. Context comprises many components and elements.
Johnson expresses the relationship and the context within architecture in an

HW\PRORJLFDO PDQQHU 'HULYHG IURP WKH /DWLQ ZRUG FRQWH[HUH ZKLFK PHDQV
ZHDYLQJ WRJHWKHU WKH ZRUG FRQWH[W FDQ EH GHVFULEHG DV WKH VHWWLQJ RI DQ
event, composition, or text, in the sense of describing the spatio-temporal parts
immediately preceding or following that determine its meaning.24 The term con-
texere is no longer used and instea the adjective contextual is used. In case
of architecture, the term contexere, refering the textural property it evokes the
perceptibility of materials and surfaces tactility.
Circumstances range from the social, political and cultural environment which
it is built as a physical setting. A dialogue of relationship of unity is created.Con-
text can be refered with respect to the project it is set up in - the physical built
23 izgen, Gltekin.Rethinking The Role of Context and Contextualism in Architecture and Design,
North Cyprus: Eastern Mediterranean University, 2012. p.11
24
30
fabric considering aspects like the history and culture of it. Contextual infor-
mation in a setting can be intentional or unintentionally placed which provides
a spatial reference. Complexity of context is represented through an allegory,
where the meanings are hidden through a many layers. thus context can be
considered as mystical in nature.
J+HUHWKHVWRU\OLQHLVUHSHDWHGLQVHTXHQFHJFHLOLQJLVXVHGIRUDUFKLWHFWXU
RYHUVHYHUDOIUDPHVFRQWH[WZLWKLQWKHZRUNRIDOPXUDOKDYHFRQWH[WWRVFDOHDQG
DUWVWVWHSKHQFKXUFK0XPEDLYLVXDOSHUVSHFWLYHRIWKHVFHQH
%XQGLSDODFH5DMDVWKDQ
Context through art and murals is provided by repetition, relevance of the

theme, the sequence of storyline, colours and decorations. Contextual refer-
ence also becomes a prelude where users decode it, re-live and expereience
the events and interprete it. Art and murals are conceived as architectural set-
ting. There are relationships formed for mutual referencing making it a hollistic
composition.
Spaces, surfaces and spatial elements collectively form a context for form,
function, site, social, political, cultural setting. buildings are with context to the
site. Not only it connects with the physical elements but also to elements like
the climate, cultural or political conditions. 7KHUHDUHMX[WSRVLWLRQVLQUHIHU-
HQFHVZLWKLQDFRQWH[WE\FRQWUDVWLQEDFNJURXQGDQGIRUHJURXQGKHDY\
OLJKWIUDPHGXQIUDPHGYLVLEOHEOXULPDJH25
25
31
)DPLOLDULW\LVUHODWHGWRDVSHFLFFRQWH[WRILQYROYHPHQWV26 Once the per-

son becomes familiar to the things, they will know about it. There is a dialogue
involved in familiraity. perception allows to get familiar with the environment by
re-evaluating and relating. the idea of familiarity in a prelude sequence allows
the space to be looked in a totality or wholeness.
People recognise the form along with the functions. Like in case of institutional
buildings, temple/ mosque, when they see then automatically they recognises
the function they serve through its form hence there is a familiarity with the form.
JDJOLPSVHRIWKHIRUPHDUOLHUVHHQJWKHIRUHJURXQGLVWKHUVWOHYHORI
EHFRPHVIDPLOLDUDQGKHOSVLQDVVRFLDWLQJIDPLOLDULW\EHFDXVHRIWKHSUR[LPLW\WKH
IRUPIDPLOLDULW\ZLWKWKHSODFH\DOOLLQ71
26 heidegger
32
J7KHFRORXUIXOSDLQWHGFHLOLQJLQ%XQGLSDODFH5DMDVWKDQFRYHUHGZLWKWKHQDUUD-
WLYHVGHSLFWLQJWKHHYHQWVRIWKDWWLPH
33
02.4 SPATIAL NARRATIVE
As one moves about, several experienes are narrated through the space.
One learns about the experience and interacts with the space through move-
ment. Story telling is a process of building up a setting of events and through
architecture, users interact with physical narration through relationships with
spaces. story telling evokes emotions by composition of sets and not through
composition of plots. There is a process of construction of a narrative in the his-
toric architecture. narratives allow different cultures to recount the stories and
experiences with respect to time.The ability of architecture to tell stories about
the past and present is also narrating about the future construction. spatial nar-
ratives gives an idea about the events happening or already happened in the
place or everyday routine.
3RZHUIXOQDUUDWLYHWHFKQLTXHVKHOSDUFKLWHFWVWRLQWURGXFHQHZGHVLJQV
VWUDWHJLHVIRUFRQFHLYLQJEXLOGLQJVDQGFKDQJHVLQSODQV
Spatial spaces are seen as narratives - architecture demonstrates memories

and characteristics through spatial / material language. It can be noted that the
spatial composition of the elements in space suggest identities of group of peo-
ple. It demonstrates the living scenarios of the people. Narratives are embodied
by the spaces as in case of many ancient buildings which had stories inscribed/
carved on the elements in space so as to deliver the meanings. Narrative is a
representation bound by sequence and time.
7KHSUHOXGHVHTXHQFHEXLOGVWKHWDOHVZKLOHSURJUHVVLQJLQWKHVSDFH.
The progression through narrative space suggest that the narrative reaches the
end not always in an ordered manner but simultaneoulsy delaying and lingering,
KHQFHWKHVSDFHLVRFFXSLHGE\QDUUDWLYHV,OOXVWUDWLQJDVWRU\RIVLJQLFDQFHWR
the users in space generates an emotion and sensation which might last longer.
27 Sharr. Adam. Reading Architecture and Culture: Researching Buildings, Spaces and Documents,
NewYork: Routledge, 2012. p.225
34
a)
b)
c)
J7KHVSDFHVGHVLJQHGLQYROYLQJYDULRXVSDWKVWRLQFOXGHPRYHPHQWLQVSDFHV
35
02.5 PEREPTION OF MOVEMENT IN SPACE
/LNHDV\PSKRQ\DQH[WHQGHGVHTXHQFHRIWHQKDVDQLGHQWLDEOHWKHPH
that begins with a whisper and concludes with a bang, exploring along the
way variations on the central theme.28
In a movement space, an object is needed to communicate along with function.

7KHTXHVWLRQZKLFKREMHFWVVLJQLHVWKHIXQFWLRQVKRXOGEHDVNHG7KHURRPV
stairs, columns etc. are the language in space that designed to communicate
with the users. It is the idea/concept of the elements and not its appearance
that the dimension of elements refer to and hence the manner in which they are
put together. people give meaning to the space in the way they use it, which is
LQXHQFHGE\FHUWDLQIDFWRUVOLNHWKHSDVVDJHKDVWKHQRWLRQRIWDNLQJRQH
from one point to another but activities of people make the space meaningfull.
The spatial components are observed successively, and this succession is in-
duced by bending the movement of the path or by obstructing the line of vision;
the observation of movement in space is always postulated on the viewers
movement, whether actual or intellectualized. The principle being successive
observation, space is never revealed to its full extent at once but is shown in-
stead a portion at a time In movement space, fragmentary spaces are connect-
ed like links in a chain or beads on a string,29 explains Inoue.
Movement along the path consists of successions of approaches to goals.

These are the prominent landmarks or focal points which the observer moves
WRZDUGVDWWDLQVRUSDVVHVE\RUZKLFKUHSUHVHQWVKLVQDOGHVWLQDWLRQ%\WKHP
he measures his progress or foretells his future. They maybe distant goals
ZKLFKV\PEROL]HVWKHQDOGHVWLQDWLRQDQGFKDQJHRQO\VORZO\RUWKH\PD\EH
nearer objects which can be approached rapidly.
28 Simitch, Andrea and Warke,Val. The Language of Architecture: 26 Principles Every Architect Should
Know, Massachusetts:Rockport publishers,2014. p.128
29 Sfakiotaki,Despina. Analysis of movement in sequential space (online thesis)
36
Perception can be described as something that happens to or within a per-

son. It is a process where the person tends to orient themselves according to
WKHLU RU RWKHUV SK\VLFDO PRYHPHQW )XUWKHU WKH HOHPHQWV DUH GHQHG DV WKH
humans move between the spaces, thus increasing their perception which is
created together with the spatial bodies, by the architectural spaces. There is a
relatioship between function and architectural elements in the way one moves
in a space. The quantitative side like the frequency in movement and qualita-
WLYHVLGHRIH[SHULHQFHVERWKDUHLPSRUWDQWDVSHFWVLQWKHFRQQHGVSDFH
These movements occur as a result of the human need to understand

where it is and where further it wants to go. It is also to get familiarity with the
surrounding space. Thus, it becomes a simultaneous process of movement to
perceive and perceive in order to move.
SPATIAL TRANSITION
An entrance implies a transition of traversing a boundary between two spac-

es. Passing through a door or gate makes up an evident experience of spatial
transition, going from one space to another. A door links spaces sequentially,
from outside to inside or among interior space units. Spatial transition involves
a perceptual process. It is about how a body experiences and familiarizes with
a situated space by any adequate information by space itself or any physical
setting. In order to perceive an asynchronous representation of spatial system,
movement in space is essential and it further creates an exploratory behav-
ior. Gibson (1986, pg197) suggests people not only seeing the environment
in pauses between movement but also during locomotion. The act of passing
through a boundary consists of information changing between what to be seen
and unseen.
Pause
Pause is necessary in the rhythm of movement. Pause is the nodes punc-
tuated in the space. It is the break in continuity from the movement. Ability to
pause, rest provides an enjoyable experience while moving. A break or a pause
in the movement increases consciousness in a person. It helps in enhancing
the phenomenon of movement. Interval in a sequence is related to time.
37
J7KHWUDQVLWLRQDOVSDFHFRQQHFWLQJDQGVHSDUDWLQJGLIIHUHQWVSDFHV
7KUHVKROG
A threshold can be described as an in-between space. It acts as a transitional
space between paths or different spaces. Actually the word threshold means
SRLQWRIHQWHULQJLWVDGRRUVLOODVWUXFWXUDOHOHPHQWRIWKHEXLOGLQJ,WGHQHV
space and also works independently to give focus to the act of transitioning from
spaces. Thresholds are the places where people prepare before entering an-
other space. It allows greeting, anticipating, contemplating, resting and waiting.
If thresholds are placed between two spaces it can act as a physical and visual
connection. Thresholds no longer act just as a physical element.
[T]he entrance [] is becoming less a spatial element and more a complex
spatial sequence. We do not enter at a particular point; it is a process in space
and time. So the threshold is no longer linear, but a threshold space that can
be both in front of and behind the facade. 30 as described by Ilka and Andreas
Ruby
30 Till Boetgerr, threshold Spaces. pg-48
38
7KH VXEWOH SODFHPHQW RI WKH WLWOHV DQG QDWXUH RI WKH UHSUHVHQWDWLRQDO GHYLFHV
HQFRXUDJHWKHOLVWHQHUWREULQJKLVRZQH[SHULHQFHWRPXVLFDQGPDNHRILWZKD
KHZDQWV
39
03 OBLIGATIONS OF PRELUDE SEQUENCE
03.1 PRELUDE WITH RESPECT TO ANCIENT BUILT SPACES
A prelude in architecture is an experience of conditioning ones mind before

reaching the desired destination whether known or unknown. A setting created
spatially, physically and notionally in the space before the main event.
To make any entrance is very important as it creates a character for the

space and sets a mood for the further journey or to another space. To a certain
varied degree the perceptual experience of our sequential quality in space has
been seen throughout the history. Goethe writes only when we walk around
a building, move through it, can we share in its life.31 Philip Thiel in an article
journal processional architecture talks about the spatial prelude sequences in
ancient buildings. There are many building in the historic times that suggest the
possibilities of enriching the experience since the approach and opportunity of
discovering the succeeding.
The early evidences are seen in the caves in Spain and France, where the
men used the most inner recess of caves for their artwork. There were barriers
like the long stretch of dangerous passages as a prelude space which sepa-
UDWHGIURPWKHRXWHUZRUOGZKHWKHULQWHQWLRQDOO\RUXQLQWHQWLRQDOO\LWVDWLVHG
their psychological need. In many Egyptian temples, their intention was to cre-
ate awe and mystery. They created linear gradation and decreased the space
sizes. From an open approach with monumental statues, one enters the colon-
nade courtyard. In the following space columns became walls and the openings
disappears. The main sanctuary for the ritual becomes enclosed space with
inaccessible natural light. This showed that the highest authority was ruled by
darkness. The preceeding spaces gradually conditioned people towards the
darkness.
31
40
DE
JD(QWUDQFHZLWKDPRQXPHQWDODSSURDFKLQK\SRVW\OHKDOOWHPSOHRINDUQDN
EWKHVHQVHRIVL]HDQGVFDOHLQWKHDSSURDFKZLWKFROXPQVLQWKHWHPSOHLQ(J\SW
The Greeks also used the path of approach to the sacred enclosure to
their temple sites to heighten the emotional effect of the experience. They de-
VFULEHWKHVSDFHGHQLQJUROHRIWKHHQWUDQFHSRUWLFRWRVDFUHGHQFORVXUHDVD
mean of securing sense of adjustment and preparation of the spectator.32
JWKHVXFFHHGLQJVSDFHVNHHSUHGXFLQJLQVL]HDVRQHSURFHHGVIXUWKHUDORQJZLWK
WKHFKDQJHLQLQWHQVLW\RIOLJKW
32 Thiel, Philip Processional architecture p.25
41
HWKURXJKWKHODVWLJKWRIVWHSV
SDVVLQJWKHOLJKWIHQFHDQGVFUHHQ
RQHUHDFKHVWKHGHVWLQDWLRQZLWK
the shrine.
GWZRLJKWRIVWHSVDUHUHYHDOHG
ZLWKRQHLJKWEHLQJSDUWO\KLGGHQ
E\WKHVKDGH
FWKHVWDWXHVRFFXULQJUHSHDWHGO\
PDUNIRUZDUGSURJUHVV
ESURPLQHQWHQWUDQFHJDWHVWDQGV
DORQHUHYHDOLQJWKHSDWKDKHDG
DQGVWHSVDWDGLVWDQFHDV
LPPHGLDWHGHVWLQDWLRQ
DHQWHULQJXSRQDQLQGLUHFW
GLDJRQDOSDWK
J7KHRUJDQLVHGVHTXHQFHLQMDSDQHVHVKULQHJRVKRMLQMDNDPDNXUDVKRZV

FRQWLQXLW\SURJUHVVLRQUK\WKPDQGUHYHODWLRQ
42
In the temples and shrines of japan, there are many planned prelude like
in Shinto, there are many tori that act as precinct gates. The paths them-
selves are designed in order to condition the mind that emphasizes the nat-
ural features of the site. Man experiences all these through his movement in
the space. In Japanese residences, the street gates become important part
IRUHQWHULQJZKLFKVLJQLHVWKHFRQQHFWLRQEHWZHHQWZRGLIIHUHQWZRUOGV(DFK
gate becomes a prelude for another space. They create a network of foot-
paths which are thread together for strollers to give succession of experience.
The elements of space or elements of nature help in triggering some his-
torical or place associations. Concept of space in Japan is that of continuous
sequence, with rhythmic gradation. Further there are varied character and at-
mosphere of the spaces by ritual, personal taste or different seasons.33 In de-
signing some monuments, by the means of sequences in space a monumental
emotion is created where visitors proceed further professionally according to
the nature of plan. Rothchilds mausoleum in isreal is one such example where
the visitors are traverse elaborately through the garden and approach through a
sequence of spaces which consist of polygonal courtyard before the main gate,
a square court by the water, descending the steps and reaching the antecham-
ber and a curved passage. Through this entire sequence visitor reaches below
JURXQGOHYHODQGGLUHFWO\HQWHUVWKHWRPEDUHDZKHUHDGHFRUDWHGGRXEOHFRIQ
confronts in a niche.
DEF

J
GH
33 ibid p.25
43
03.2 SPACE MAKING ELEMENTS
The encodings of the space making elements are the situations in which they
operate. They are moulded in space for a dialogue of encoding and decoding.
$ORQJ ZLWK VRPH EDVLF VSDFH PDNLQJ HOHPHQWV VXFK DV ZDOO RRU FROXPQV
WKHUHDUHRWKHUHOHPHQWVWKDWDUHPRGLHGRUXVHGLQLWVQDWXUDOIRUPVXFKDV
light, temperature, sound, vegetation etc. The use of these elements contrib-
ute to an experience within the space. These space making elements have the
ability to identify different spaces with different use which becomes an intriguing
aspect of it. There is a process of recognition and creating an interaction. Cre-
DWLRQRIRQHSODFHOHDGVWRUHFRJQLWLRQRIRWKHUV34 The encodings in space
allow to maintain a viewcone (drashtikon).
1) NATURAL ELEMENTS OF SPACE MAKING
:$7(5Water is symbolic to purity. It has an associational quality. Water attracts

people and creates a recreational potential. Water bodies attract movement
along its edges, for this reason they are integrated along the path of movement.
The use of water-bodies in space and as a sequence enhances the pleasure
of moving. Water has an associable and a cultural meaning. In terms of visual
experience, the water bodies change dramatically due to various seasons. It
provides a stillness and movement along with splashes and silence. The sound
of water is revealed before even if it is hidden. Waterbodies can make a space
cool and light than its adjacent space.The experience of sequence, variation,
repetition and incident are all important qualities in linear waterbodies.35
Water element has appeared in various forms like ponds, fountains, small
and large channels, rills, gully, fountains, tanks, moat etc for the purpose of
directing the movement, evaporative cooling, ornamentation and aesthetics,
cosmic reasons, water storage, security, architectural scale manipulation, buff-
ering etc.
34 Unwin, Simon. Analysing Architecture,London: Routledge, 1997. p.38

35 Dee, Catherine. Form and Fabric in landscape architecture, : p.114
44
Water has been exploredin multiple ways in architecture. It has been used
as a mirror, which regenerates the image of the surrounding elements and cre-
DWHVDQLOOXVLRQRIPXOWLSOLFLW\LQQLW\DQGV\PPHWU\:DWHUDVDQDWXUDOHOHPHQW
has the potential to provide a living dimension to a lifeless matter, i.e a building,
WKURXJKLWVVRXQGPRYHPHQWUHHFWLRQSURSHUW\WRFKDQJHLWVIRUPZLWKWKH
VHDVRQVDQGDELOLW\WRDFWLYHO\LQXHQFHWKHDWPRVSKHUHRIWKHVXUURXQGLQJ
J:DWHUDVDYHUWLFOHHOHPHQWDFFHQWXDWHVYHUWLFDOLW\DQGOLQNVWKHHDUWKDQGVN\VKRZ-
LQJGLUHFWLRQDOLW\DQGUK\WKP
JWKHHGJHVDORQJWKHZDWHUGHSLFWLQJDJZDWHUERG\ZLWK
FRQWUROOHGQDWXUHGHVLJQHGHGJHG7DMODNH
JDERYHZDWHUZLWKUHHFWLRQTXDOLW\

JULJKWWKHUHHFWLRQRIVXUURXQGLQJVRQZDWHU
DFFHQWXDWHGDJDLQVWDEODQNZKLWHZDOO
45
Scale: Scale of the water element differs depending on its purpose and loca-
tion. E.g. the water pond preceding Taj Mahal varies from the one in the court-
yards in Alhambra palace. This is because it complements the scale of the
built form itself as well as responses to the amount of open space available to
balance the amount of moisture due to evaporation.
'LUHFWLRQDOLW\Water element also holds the potential to organize a space

and its activities around it and direct the movement in the space. E.g. in
Alhambra palace (Granada, Spain), the court of lions has a central majestic
fountain holding the courtyard together. This courtyard is further injected with
four pavilions on four sides, preceded by rooms. The central fountain extends
into the pavilions through narrow channels and forms small circular fountains
in the center of pavilion as well as the room. This feature directs the vision
and movement from the center of the courtyard directly into the rooms and
establishes secondary center points there. These water channels also divide
the courtyard into four parts.
J
46
LIGHT AND SHADOW: Light is one of the parameters to sense and perceive
WKHVSDFH,WFUHDWHVDQDSSHDUDQFHDQGDWPRVSKHUHWRLQXHQFHWKHPRRG
Landscape architects mostly design with or within the natural climatic light of
the sun, cloud, mist and rain. At night, inventive lighting can enliven places.36
light informs about the material, colour, texture of the space.The play of light
and shadows can bring out a dynamic relationship in space which is beyond
function. It gives meaning to the space. There is a depth achieved through the
play of shadow creating a sense of curiosity.
Just as form, material and structure is important for built environments, light
and shadow are also equally important and integral part of it. Light always has
interplay with shadow, thus one does not only deal with light but with shadow
as well. They together allow multiple tasks like giving a depth or third dimension
WRDQREMHFWLPSDUWLQJDVSHFLFFKDUDFWHUDQGPRRGWRWKHVSDFHGLUHFWLQJ
movement, supports the enactment of different activities in a space, as well as
enhance the beauty of the materials and surfaces. With the changing intensity,
color and angle of the natural light throughout the day the objects and space
FRPHWROLIHWKHFDYLW\EXOJHDWQHVVFXUYHVGHSUHVVLRQVJURRYHVMRLQWHWF
all come to notice.
JWKHSDWWHUQIRUPHGWKURXJKWKHJ
QDWXUDOOLJKW
36
47
Light and shadow also play an important role in directing the movement and
activity within a space, e.g. when natural light is entering a room from a window,
it can either divide the space into two parts, one with bright light and the other
with dark shadow portions. This can automatically direct a person towards the
brighter part and neglect the darker area. This same light also changes the
angel and thus highlights different parts of the room during different period of
the day. Light falling on a particular surface highlights its presence, while the
VKDGRZFDQWRWDOO\FDPRXDJHWKHREMHFW
JWKHLQGLUHFWGLPOLJKWLOOXPLQDWHVWKHVSDFH
$URRPZLWKODUJHZLQGRZDOORZVGLUHFWLQXHQFHRIWKHRXWVLGHWKHFKDQJ-
ing position of the clouds and sunlight, which drags and orients one towards the
outside.The varying levels of brightness that one can experience in a Japanese
house or in a pole house from the bright entry to the innermost intimate spaces
that gradually become dark automatically invites different activities and moods
in different layers of spaces.
JQDWXUDOLQGLUHFWOLJKWIRUPLQJDKDORJWKHFKDUDFWHURIWKHOLJKW
PDNLQJWKHHQYLURQPHQWVDFUHGFUHDWLQJDP\VWHU\
48
VEGETATION - The presence of vegetation gives pleasure to walk. To touch

and smell plants and leaves, to walk from sunlight to shade, there is a sense of
sensorial experience. It plays a role in providing direction in a path both spatial-
ly and structurally. The path with vegetation provides a contrasting experience
of lightness v/s darkness, open v/s enclosed, warmth v/s cool while walking.
Hedged walk can also create a mystery or seclusion in movement. Vegetation
LVXVHGDVDVXUIDFHIRURRURYHUKHDGRUDVDYHUWLFDOVXUIDFH9HJHWDWLRQFDQ
be used to provide shade in contrast to the brighter adjacent space.
JWKHWUHHVIRUPLQJDQDWXUDOHGJHVJWKHWXQQHOIRUPHGDFFHQWXDWHVWKHYLVWD
K I L O G
FUHDWLQJDVSDFHWKH
JDERYHWKHWUXQNRIWUHHVLPSOLQJVSDFH

ZLWKRXWHQFORVLQJLWPDNLQJLWDIUHHRSHQVSDFH
fLJULJKW$OORZLQJDFFHVVWKURXJKGHQVHWUHHV
-DSDQHVHJDUGHQ
49
2) PHYSICAL SPACE MAKING ELEMENTS
)/225Floor is an important physical basic element which plays role to facili-

tate and mediate the experience and the use in built spaces. It is a base plane
which provides datum through which other planes also gets perceived. Floor
connects the links for the circulation. Floor is made to travel within spaces.
7KHUHDUHPDQPDGHDQGQDWXUDORRUGHSHQGLQJXSRQPDWHULDOWUHDWPHQW
Floor with vegetation, soil, water and natural stone denote the connection
with nature. Through such treatments the perception of vista extends along
ZLWKWKHSHUFHSWLRQRIEHLQJZLWKWKHQDWXUH:KLOHPDQPDGHRRUVDUHWKH
FRQVWUXFWHGRRUVZLWKWKHJODVVZRRGWLPEHUFHUDPLFIRUDUWLFXODWLQJDQG
expressing the design.
)RUPFloor can be modulated or unmodulated depending upon the form.

Through variations in levels and surfaces, movement pattern can be generat-
HG)ORRUFDQEHPRGXODWHGWRIRUPSOLQWKVDQGWKUHVKROGVRRUFDQEHPDGH
to be in motion when the surface is undulated, sloped or there are shifts in
levels emphasising the spaces.
JDERYHOHYHOVGHVLJQHGWRFUHDWHLQWLPDF\

JOHIWWKHSUHFHHGLQJOD\HUDVDVWHSSHGSDWKZLWK
GLIIHUHQWGLVWDQFHVHORQJDWHVWKHMRXUQH\DQGHOHPHQW
RIWLPHSOD\VDUROHLQFRQGLWLRQLQJ
50
Directionality7KHKRUL]RQWDOFKDUDFWHULVWLFVRIWKHRRUGHOLPLWVDQGGLUHFWV
WKHPRYHPHQW)ORRUGHQHVHOHPHQWVDQGSURYLGHUHIHUHQFHWRDOOZKLFK
comes above and below it. It becomes a unifying factor and enhancing in
GLIIHUHQWZD\V$VWKHRRUEHFRPHVDUHIHUHQFHLWDFFHQWXDWHVWKHSDWWHUQ
in movement. It allows the transition by raising the plane slightly and again
lowering it.
5K\WKP: Floor becomes a communication element through variation in tex-

WXUHV9LVXDODWWHQWLRQLVUHFHLYHGZKHQRQHZDONVRQWKHRRUKHQFHWKHSDW-
terns and clues help in communication. Rhythm is created with the repetition in
SDWWHUQVRQRRUZKHUHVRPHWLPHVLWOHDGVWRPRQRWRQ\ZLWKUHSHWLWLRQRRU
surface is emphasized to give it importance. Depending upon the size, colour,
textures the surfaces are emphasized.
J3DWWHUQIRUPHGLQ=HQJDUGHQ-DSDQJVHQVHRIWRXFKWH[WXUHDQGPDWHULDOLV
HQKDQFHGWKURXJKSDWKZD\1DJDNXWH-DSDQ
JRRUSDWWHUQFDQJLYHDSULPDU\JZDWHUFKDQQHODVDFRPPXQLFDWLRQ
FKDUDFWHUWRWKHVSDFH%ODFNQZKLWHHOHPHQWLQRRULQ-DKDM0DKDO
OLPHVWRQHLQSRUWXJDO
51
Floors are walked over and this constant function demands constant visual ref-
HUHQFH WR WKH SODQH XQGHUIRRW 7KLV SURYLGHV WKH RRU ZLWK KLJK SRWHQWLDO IRU
37
super imposing signs and symbols as they effevtively get registered. Floor
VHUYHVGLIIHUHQWIXQFWLRQVZLWKUHVSHFWWRGLIIHUHQWVSDFHVIRUH[DPSOHWKHRRU
LQKRXVHVXVHGIRUGDL\DFWLYLWLHVOLNHVLWWLQJVOHHSLQJHWFZKLOHRRULVVDFUHG
in a temple used for pradakshina.
WALLS7KHYHUWLFDOSODQHOLPLWVWKHH[WHQGRIWKHKRUL]RQWDOSODQH,WGHQHVWKHGLI-
ference of private and public, profane and sacred through different treatments. Walls
demarcates the boundaries. The verticality of the wall and planarity of the wall creates
a sense of volume. it creates a sense of outside and inside.
Directionality: Physical pattern in movement is generated through aspects like the

graphics, composition, textures, proximity. Walls guide the movement through their
stretched planarity. modulating the element can guide the movement.
JWKHZDOODVDEDUULHUFUHDWLQJWZRJRSHQLQJLQDZDOOPDUNLQJDQ
GLIIHUHQWFRQGLWLRQVVKDGHDQGOLJKWHQWUDQFHWRDQRWKHUVSDFH
$V D GLVSOD\ HOHPHQW: Though walls convey the idea of planes, their construction
technique and materials used require them to possess some thickness. This depth
affords the provision of small niches, alcoves and shelves within the walls.38
37 Pandya, Yatin. Elements of space-making, India: p.

38
52
JEKXQJDKRXVHVLQNXWFKZLWKJWKHZDOODFWLQJDVDIDFHWRWKH
ZDOODVDFRPPXQLFDWLRQHOHPHQWZRUOGSODFHWRGLVSOD\
*XLGLQJWKHPRYHPHQW: physical pattern in movement is generated through aspects

like the graphics, composition, textures, proximity. walls guide the movement through
their stretched planarity. Modulating the element can guide the movement.
JZDOODFWLQJOLNHEDUULHUVZLWKSDXVHVLQEHWZHHQ
$VDIDFDGHZDOOIRUPVDQHQYHORSHDVDIDFDGHLWLVWKHUVWYLVXDODVSHFWVHHQIRUD
EXLOGLQJDQGIDFDGHGHQHVWKHFKDUDFWHURIWKHEXLOGLQJ7KHSURSHUSODFHPHQWRIWKH
ZDOOZLWKDUWLFXODWLRQDQGSUROHLPSDUWVWKHLPSUHVVLRQDERXWWKHEXLOGLQJ
53
COLOUMNS: A vertical support to the structure is a column. Columns have the

attributes of assumming a center position. Columns are omnidirectional hence
EHFRPHVDIRFXVDQGGHQHVWKHVSDFH,WWDNHVWKHSURSHUW\RIEHLQJDSRLQW
'LUHFWLRQDOLW\The column gives dynamism to the space. A point extruded ver-

tically guides the vision. Column has the attribute by repetition. Repetition of
coulmns guide and provide a direction when placed linearly in space. Columns
guide movement when an imaginery plane is formed by the series od columns.
g
JDYHUWLFDOLW\RIFROXPQDVDSRLQWRIUHIHUHQFHEPDUNLQJDVDIRFXVLQVSDFH

FWKHLQWHUFROXPQLDWLRQFUHDWHVDUK\WKPLQSHUFHLYLQJDVSDFH
5K\WKP The spacing within columns and the changing distances give rhythm to a
space. It imparts a sense of continuity. Intercolumniation in a space provides a chang-
ing prospect to the space. Columns guide movement when an imaginery plane is
formed by the series of columns.
JWKHFROXPQVGHPDUFDWLQJDERXQGDU\IRUWKHYHUDQGDK
A single column becomes a focus in the space providing centrality and reference. More
than two or three columns not placed in a linear manner encloses a space and gives
a volume.
54
03.3 RELATIONSHIPS IN SPACE
The experience of the building may vary as a person moves along the build-
ing. People encounter sequence in spaces which are punctuated with elements
and activities. In a building, relaitonships between elements creates a series
of experience woven together and unfolds over time. With the movement, dif-
ferent perspectives and dimensions with depths are seen/ revealed, corners
are turned, change in scale and details are explored.It allows these singular
moments to be understood as a part of a whole event which further helps in
experiencing the prelude. The degree of relationships are dependent on social
distances and physical distances. relationships can be seen between humans
and architectural elements as well as between the elements themselves which
are as follows-
(OHPHQWVDUHGLVWDQWWRRQHDQRWKHUZKLFKFUHDWHVDSRWHQWUHODWLRQ-
ship
(OHPHQWVDGMDFHQWWRRQHDQRWKHUDOORZVIRUDFRPSDULVLRQRIVFDOH
SURSRUWLRQVRUWKHFRQWUDVWIRUPLQJDFRQQHFWLRQEHWZHHQWKHP
(OHPHQWVSDUWO\FRYHULQJHDFKRWKHUDWWKHHGJHVFXWVFRUQHUVDO-
ORZVH[SORULQJGLVWDQFHV
(OHPHQWFRQFHDOLQJWKHRWKHUHOHPHQWPDNLQJDQLQGLUHFWFRQQHFWLRQ
DVXUSULVHVKRFNYDOXHFDQEHDWWDFKHGWRWKLVW\SHRIUHODWLRQVKLS
The space communicates through the encoded relationships between spatial

elements.The spatial communication in built spaces and non-verbal com-
munication between humans are very much similar. The spaces with heavy
construction, large distances between elements, vertical scale composition
symbolises and hints of being dominant.
The openess suggest transperency while closed suggest control. the measure
of distance, the length of approaches also form a relation. The dictators in his-
WRU\XVXDOO\RSHUDWHIURPRIFHVSDFHVGLIFXOWWRDSSURDFKDQGZLWKDODUJH
degree of control (Markus 1993).
55
03.4 ASPECTS OF PRELUDE SEQUENCE
'RHVSUHOXGHKDYHDQHQG"RULVLWDEHJLQLQJ"RULVDFRQWLQRXVMRXUQH\"
3UHOXGHFDQEHOLPLWLQJRUKDYLQJDGHQLWHHQGRUFDQEHDQXQHQGLQJSUR-
cess. Prelude to a space can be systematic orchestrated path, which holds a
control over how an individual perceives the space.Depending upon the inten-
tion of visitors or the individual, the prelude to a space can make multiple paths
to select from and can also have multiple endpoints.prelude is a setting which
is encoded within a journey
Some spaces can have a very wage or abrupt prelude as well as a destina-
WLRQSRLQW7KLVFDQLPSDFWRYHUDOOH[SHULHQFHRIWKHVSDFHDQGIXOOOPHQWRIWKH
intention of the visit. There are spaces with lack of value, where one is suddenly
thrown into a space - in this situation prelude is limiting. But prelude can be
ZLWKDGHQLWHHQGZKHUHWKHGHVWLQDWLRQLVNQRZQ6FDWWHUHGZDJHXQRUJDQ-
ised/uncurated prelude to a space creates confusion or generates an unclear
picture or perception of the space to be visited in an individuals mind. A space
PD\DOVRQRWKDYHDGHQHGHQGSRLQWEXWWKHMRXUQH\WKURXJKWKHVSDFHLWVHOI
can serve the purpose of the visiting to a space. Here the prelude is a journey
experienced along the way.
While moving along the spaces, there is a succession of approaches in the

journey.These approaches become the prelude to the users journey. The ele-
ments forming a space forms a relationship and notions in these approaches
which leads to prelude sequence. The following section looks into some exam-
ples to analyse different aspects and approaches towards the prelude.
56
35(/8'(QRWMXVWDQHQWU\
Looking at the role of a prelude as a prefatory, the question arises - ZKHUH

GRHVSUHOXGHEHJLQIURP"LWEHJLQVIURPWKHUVWVLJQDOUHODWLQJWRWKHSODFH
VSDFHDVVRFLDWHGZLWKWKHYLVLW7KHUVWVLJQDOHQFRXQWHUHGE\WKHXVHUVFDQ
be a beginning point for the prelude to be experienced. Prelude with respect to
architecture, can begin in one owns mind even before entering the place to be
YLVLWHGRUVSDWLDOO\WKURXJKDUHIHUHQFH,WFDQEHWKHUVWVLJKWOLQHRUVHTXHQFH
that precedes that. With the help of reference, a relationship is recognised be-
tween elements, element-people in the context. Visual reference and its expe-
riences are reinforced by sensorial references like hearing, touch, smell etc.
Reference can be in any form like in a sequence, metaphysical or ephemeral.
$VDUVWUHIHUHQFH
Gopurams, in the dravidian temples of south india attract attention of people
from a distance. gopurams are the elevated part of the temples and gives a
FOXH RI EHLQJ WKHUH DQG UVW VSDWLDO UHIHUHQFH VHWWLQJ DQ DWPRVSKHUH IRU WKH
succeeding space. Hence from a far distance, approaching the space one is
DZDUHRIWKHVSDFHWREHHQWHUHG7KHUHLVDIDPLOLDULW\HVWDEOLVKHGZLWKWKHUVW
look for something to be followed.
JDERYHWKHSODQRI
JOHIWJRSXUDPVDVUVWUHIHUHQFH

SRLQWIRUSUHOXGH7KHLUVKDSHDQG
KHLJKWPDNHVLWDSURPLQHQWUHIHU
ence.
57
$VDVKRFNVXUSULVH
As some spaces or structures might hint about its following space similarly
there are spaces where shock value is experience in an approach, where the
space reached is through a tunnel or the prelude space does not provide a clue
for the succeeding space which creates a shock/surprise. The lack in value
makes a space approach in where one is thrown suddenly into a space. There
is an attribute of shock value attached to it. There is a sudden encouter with the
space when one gets to know the space, there is no reference to it.
There is an antithesis seen in the prelude while moving towards TajMahal.
The chaotic asymmetrical approach from smaller lanes to entering the sym-
metrical composition of the monument. There is a contrast which gives a feel
of being in awe. Hence the prelude sequence can be shocking if suddenly
revealed to another space.
An element of surprise is experienced when there are different shifting axis in a

nonlinear organisation of a space
JDSSURDFKWRZDUGVWKHPRQXPHQW
IURPDFKDRWLFVSDFHDFRQWUDVW
EHWZHHQVSDFHVFUHDWHVDVKRFN
value
58
'LUHFWYVLQGLUHFWDSSURDFK
Direct approach to a space is a linear and along an axial path. The approach
mostly is a straight line arrangement. Path directly leading to the space speeds
up the movement. Spatial continuity is maintained along the movement.
Certain approaches are designed in a way that even if the path is straight,
one doesnot get a glimpse of what will be encountered ahead. The approach
opposes the linear arrangement in a sequential movement. the encoding in
Indirect approach generally gives an idea of a larger/greater space ahead than
it actually is. It gives an impression of an interesting experience where some-
times the space is not revealed directly. Approach may be diagonal or L-shaped
to give a longer indirect prelude. In an indirect approach, the same space might
be confronted diferently.
JDGLDJUDPDWLFSODQVKRZLQJGLUHFWDSSURDFKWRWKH
PDLQVKULQHLQ/LQJDUDMWHPSOH%KXEQHVKZDU
59
Itoh says that since it is almost impossible to see the entrance from the gate,
there is once again the pleasure of suspense and curiosity, as well as that of
changing scenery, as one progresses along the path39
6KRUWYVHORQJDWHGDSSURDFK
Direct approach is seen as a shorter approach as the path is straight. Users

do not get the time of think in a shorter approach. An elongated approach is
designed to provide an importance to the space. This approach serves as a
mediator between two spaces. It emphasizes the entrance to adjacent space.
Elongated path can prolong or delay the time in reaching the space. Short ap-
proach does not allow for a proper attention to the space as compared to the
elongated path. The appoach need not be short or long physically but can be
through experiential aspect.Short approach does not allow for a proper atten-
tion to the space as compared to the elongated path.
JDOHIWLVRPHWULF

EDERYHSODQRI&DVD'HO2MR'H$JXD7KHSUH
FDULRXVLJKWRIVWHSVWRWKHVSDFHFUHDWHVDIHHOLQJRI
WUHSLGDWLRQZKHUHXVHUVDUHLQWURGXFHGGLUHFWO\WROLYLQJ
URRP 7KLVVWUDLJKWORQJLJKWHOLFLWDQHPRWLRQDQG
FKDQJHVH\HOHYHOVDVFOLPELQJXSRUGRZQ$WWKHVDPH
RWKHUDSSURDFKWRKRXVHLVWKURXJKIRUHVWZLWKVKRUW
LJKWRIVWHSV7KHUHDUHFRQWUDVWLQH[SHULHQFHVIHOW
WKURXJKWUDQVLWLRQLQJLQVSDFH
a)
39 Itoh 1989, pg-110.
60
&RQFHDOLQJYV5HYHDOLQJDQG2YHUODSSLQJ
Overlapping in the prelude space where one part is hidden behind another
creates a sense of perspective. The encodings in the space has does not reveal
the whole, only one part is shown to the users. There is a depth of perception
perceived while moving. While not showing the whole space, cues and clues of
the space hidden is made to perceive, this creates a sense of vastness in the
space. Overlapping as a nature of prelude can be achieved by using a barrier,
hindering the space, distributing the elements of space or using the existing
space elements in a special way.
Revealing space gives a sense of transperency, as nothing is hidden and

can inculcate the feeling of trust, gives a sense of openess and makes a space
look bigger than reality. For example a courtyard or a central halls or rooms with
larger windows or glass partition. they allow wider vistas, gives partial glimpses
of other spaces, generate a sense of clarity. They move an individual from one
space to another. They also sometimes hinder the level of intimacy.
The spaces are revealed in many different ways, one such way is the revealing
RIWKHPRVTXHGRPHVWKURXJKLWVUHHFWLRQLQWKHDEOXODWLRQSRQGZKHQWKH
worshippers bend down for the pond, is when it is seen which helps in remind-
ing and condition for the further goal. the encoding is through the lanscape
elements like water which enhances the metaphoric layer of the space along
with its function.
Concealed spaces give a sense of security, increased level of privacy and

inclusion. They seem to be introvert in nature. for example innermost rooms in
a pol house with small openings or a secret chamber. they tend to disconnect
an individual from other spaces and restrict them to that individual space in
terms of visual as well as physical movement.
61
J7KHSUHFHHGLQJVSDFHZLWKZDOODVDEDUULHUJ7KHMDOLUHYHDOLQJWKH
FRQFHDOLQJPD[LPXPYLHZRIVXFFHHGLQJVSDFHVSDFH
1HXHQGRUIKRXVH,VODQGRI0DOORUFD
JWKHKRUL]RQWDOVOLWVFRQFHDOLQJWKHPRVWRI
RXWHUVSDFHPDLQWDLQLQJWKHLQWLPDF\LQVLGHUU
J*DWHZLWKORZRSHQLQJQRW
UHYHDOLQJWKHHQWLUHVSDFHMXVW
DJOLPSVHRIWKHVSDFHWREH
IROORZHG'LDWRNLML.RWRLQ
-DSDQJWKHDEOXWLRQEHIRUHWKHPRVTXHVUHYHDOWKH
EXLOGLQJWKURXJKWKHZDWHUZKLOHFOHDQVLQJ
ZKHQDQLQGLYLGXDOEHQGVWKHUHHFWLRQVKRZV
WKHEXLOGLQJDFRQQHFWLRQZLWKWKHVWUXFWXUHLV
PDLQWDLQHG
62
- Visual v/s physical continuity
Spatial continuity in a space gives rise to a sequence that connects points

and forms spatial relationship with the space. Certain elements connect the
spaces visually but not physically like the spaces with jaalis in indian forts and
palaces and the use of glass. Gropius cited in Capon (1999) discusses the
advantage of modernism by saying that: undivided glass planes giving new
UHODWLRQVKLSVRILQWHULRUVSDFHVWRWKHLQQLWHUHDFKHVRIWKHRXWGRRUV40
JWKHGLDJUDPVKRZLQJWKHYLVXDOD[LVYVWKHSK\VLFDOFRQWLQXLW\
JWKHLQWULFDWHMDOLLQVDUNKHMUR]DSURYLGLQJ
the visual continuity of the
DGMDFHQWVSDFHZLWKRXWSK\VLFDODFFHVV
40 izgen, Gltekin. Rethinking The Role of Context and Contextualism in Architecture and Design,
North Cyprus: Eastern Mediterranean University, 2012. p.
63
*UDGXDOWUDQVLWLRQ
A house is not just a place where one opens a door, enter and remains. It is
DV\VWHPDQGDVHTXHQFHRIHOHPHQWVWKDWSURYLGHDQHJUDGDWLRQRISXEOLF
semi public and private space, seperated and connected sequences which go
from purely public - the entrance to purely private41
In domestic houses such as pol houses in Ahmedabad, prelude occurs at many

different points, from the street, otla, the entrance and the rooms. The entranc-
es and the threshold of the traditional houses becomes an important element
depicting about the society and the rituals. Crossing the threshold and the
entrance becomes an experience along with being a functional element. The
lintel consists of auspicious motifs. The prelude of the entrance into the living
room creates a situation where one passes through the streets entering the
otla and the threshold. There is a familiarity created before entering the house
of conditioning through these spaces. The prelude creates stories and associa-
tions through the elements with transitions. The houses in Islamic cultures have
carved inscriptions of Quran engraved which forms compositional element. The
prelude is the approach created through a successive progression. The house-
holds have a spiritual as well as material aspect manifested which gives the
familiarity and impacts the guests visiting.
The prelude in domestic spaces can be limiting till the entrances. It becomes a
symbolizing aspect having social meanings of welcoming and auspiciousness.
This realm shapes peoples behaviours in day to day basis. The approach to-
wards the house, advancing to the entrance visitors remove their footwears,
ZKLFKEHFRPHVUVWSRLQWFRQWDFWZLWKWKHKRXVH
7KHLQVFULSWLRQVKDYHGLIIHUHQWFRQWHQWDQGVSDFHVOLNHKRXVHKDYHVSHFLF
unique elements which characterizes the setting of the space.
41
64
65
,QWHUOXGHV
The spatial interludes are in the form of distance between buildings or sections
of it, chowks, setbacks and offsets. The temporal interventions relate to time
and so movement, such as time required for image grabbing, visual scanning,
travel time clues such as milestones, scaling through perspective, and move-
ment attests such as slopes (accelerations) and rises (decelerators).42 Prelude
can be between interludes for a journey.
The sWHS ZHOO LQ$GDODM is an example where the pause points became the
interludes. The pair of pilasters become the visual clues inviting visitors to the
platform, where the ascending steps of the step well leads to the octagonal
IUDPHVSDFH7KLVLVWKHUVWSDXVHSRLQWLQWKHMRXUQH\ZLWKWKUHHVLGHVRIDV-
cending steps and only approach to the water through descending steps.
JWKHDSSURDFKWKURXJKGHVFHQGLQJJWKHRFWDJRQDOVSDFHDOORZDJDWKHULQJDQG
VWHSVWRWKHUVWSRLQWUHVWLQJSRLQW
9LVLWRUV PDNH D VKLIW LQ WKHLU PRYHPHQW SHUSHQGLFXDOU WR WKH HDUOLHU LJKW RI
steps. There is a new visual axis established along the movement. The sightline
is extended through the horizontal length but the descending movement along
the steps changes the eyelevel and perspectives of the compositions of ele-
ments. with every descend, the steps reveal only the next and the destination
RIZDWHULVEHLQJFRQFHDOHGIURPWKHHOGRIYLVLRQ7KHHYHU\FKDQJLQJYLHZV
of the steps becomes a prelude sequence for the interludes.
42
66
JWKHSRVWEHDPFRQVWUXFWLRQIRUPVWKHIUDPHVZKLOHKHDGLQJGRZQZDUGVJLYLQJD
YLHZRIWKHHQG
JWKHVWHSVDUHHQFRGHGIRUWUDQVLWLRQDVJWKHLQWHUOXGHVDOORZGLIIHUHQWH\HOHYHO
ZHOODVDVDVHDWLQJHOHPHQWDQGJUDVSWKHFKDQJHLQOLJKWLQWHQVLW\
67
7KHUHVWSRLQWVLQEHWZHHQWKHLJKWRIVWHSVEHFDPHWKHVSDFHVIRUVRFLDOL]LQJ
and interaction among the travellers. the pause points aloow the space to be
viewed properly. The spatial elements, beam and columns make a visual frame
along the movement providing a reference and a sence of depth. Moving from
XSSHUJURXQGWKHVWRQHHGJHVGHQHWKHVWUXFWXUHWKHVWHSVGHVFHQGLQJDUH
open. the pavillions are linked through ledges. the ledges are narrow and be-
FRPHVGLIFXOWWRPRYHEXWDORQJZLWKSDYLOOLRQVWKH\FUHDWHDUK\WP7KHDFWXDO
PRYHPHQW URXWH LV WKURXJK WKH LJKW RI VWHSV DOWKRXJK WKHUH LV D FRQQHFWLRQ
between the ledges and pavillions. The interludes, with gradual movement ren-
ders the space conditioning the visitors.
JWKHVWUDLJKWDSSURDFKOHDGLQJWRWKHGHVWLQDWLRQ
JULJKWWKHGHVWLQDWLRQHQFORVHGZLWKGDUNVSDFHV
FRQQHFWVYHUWLFDOO\ZLWKWKHVN\7KHMRXUQH\DWWKH
HQGHQWLFHWKURXJKWKHYHUWLFDOFRQQHFWLRQ
The fusion of hinduism and islamic architecture is seen in the step well. the
association with the sculptures and carvings of both the styles were portrayed.
68
The visitors/travellers are enface with the water through a dark, enclosed space
with water on all four sides. a notion of center is establised. with every interlude
the intensity of light decreses, a sense of enclosure is built. from a horizontal
descend the focus shifts to the verticlality at the end wich connects the sky and
ground
The movement terminates towards the concentration point - the end of the
VWUXFWXUH7KHQDOSDXVHSRLQWLVWKHJDWKHULQJVSDFHZKHUHKXPDQVDQGZD-
ter meet. The axis downwards manipulates the visuals formed by the construc-
tion and composition. The physical state is displayed differently as one move
towards the less light entering spaces. The carvings play an important role in
forming a setting of the space. The view from outside and the view from inside
forms a complete contrast which increases the curiosity and induces the sense
of discovery with every descend. The interludes with the encoded symbols and
carvings along with the spatial elements enrich the experience and makes a
simple routine of fetching water to an enjoyable event of moving through.
JSDXVHSRLQWVEHWZHHQWKHVWHSVPDNLQJWKHMRXUQH\OHVVWLULQJDQGSODFHIRUUHVWLQJ
J
69
- LIKE A RELAY RACE
The prelude sequence while in motion constructs different experiences. The

following example generates pictorial images through a sequence also called
visual motion. Villa savoye, apart from being different building, raises curiosity
within people upon experiencing it. The house which is isolated once stood on
the hill with greens which was visible from a distance. There was a realisation
of an idea from looking at the parthenon which stood on top above the ground.
The approach to the house through an old drive way leads to underneath one
side of the building with pilotes. vehicle turns and stops for passenger to enter
the house and moves further on other side for the parking. The vestibule is di-
UHFWO\HQWHUHGIURPWKHJDUDJHIRUDPRUHFRQWLQRXVRZRIPRYHPHQW
The architectural promenade by le corbusier - the ramp greets on the entrance

along with a spiral staircase. the communication with the space happens ver-
tically.these two elements invite for a further movement upwards. the ritual of
observing spaces are made possible through the ceromonius route designed.
The entry to interior of the house from other side greets with a sink. It symbo-
lises washing before entering. The act of cleansing before entering the space.
this incorporation of ritual not only places oneself physically but emotatively in
the space. The sequence of preludes start establishing by those approaches.
J6RXWKZHVWIDFDGH7KHUVWVLJKWRIWKHEXLOGLQJLWVIDFDGHSODQHWKHUHFWDQJX-
ODUSODQHZLWKDQRWKHUUHFWDQJXODUFXWRXWDORQJZLWKDZLQGRZ7KHUROHRIWKHZLQGRZ
VHHPVDVDQHOHPHQWVHSHUDWLQJWKHRXWVLGHZLWKLQVLGH7KHSHUFHSWLRQRIWKHFXWRXWWR
EHDEOHWRORRNEH\RQGRQRWKHUVLGHDFWVDVHSHUDWRU
70
J
The ramp creates an atmosphere where the motion is slow, visitors or the
occupants become aware of the change in light and height of the space. The
wall on both sides of the ramp are cut in order to penetrate the light which helps
in opening of the space. The ramp creates multiple viewing moments while
moving forward.
J
7KHUDPSOHDGLQJRQWKHXSSHURRUKDVURRPVWKDWDUHQRWFRPSOHWHO\VHSHU-
ated from one another or from the outside. The opaque planes of the walls
forming passages have very little intensity of light entering which then allows
entering to the spacious rooms beyond. the rooms have large horizontal win-
dows with ample of natural light and green views. These changes the viewers
viewpoints hence invoking series of experiences.
71
J
7KHXSSHURRUOLYLQJURRPGHVLJQHGZLWKKRUL]RQWDOZLQGRZVRQERWKVLGHVZKLOH
another glass curtain wall giving an uninterrupted view to the terrace. The clean
design of the terrace with openings in facade providing with the views of the out-
side. this situation makes the space look much more vast than it actually feels.
the table and the plants terrace symbolises the outdoor eating promotion the
notion of living a healthy life.
J
72
JJ
JJ
The ramp further leads to the rooftop garden with the curved wall encasing it.
The huge triangular window provide view of the inside. there is a careful rela-
tionship between inside and outside establised through framing the views. the
atmosphere created continuosly surprises viewers with the different boundar-
ies, there is a juxtaposition where the ledges and ramp are combined to create
DQDWPRSVKHUHWKDWSXOOVWKHYLHZHULQWRWKHVSDFHWKHXSSHURRUKDVFDUHIXOO\
framed views of the exteriors. there is a play with rectilinear wall and symmet-
rical plan.
Like a relay, each leg is a part of whole and each leg prepares for the next
through different transitions.The ramp acts as a connector in the spaces linking
different spaces with a constant dialogue running in viewers mind. The transi-
tions in the journey is crucial in the space which creates an experien
73
- LAYERING IN SPACE
Spatial layering is the perception of interstitial spaces that advance or

recede in reference to a point of view or a direction of motion.43 The encoding
through spatial layering allows people to anticipate what was already imagined
about the object or the space. There are visual signals with actual experiences
in the sequence.
One such example where layers in space are experienced is the Exeter
library by louis Kahn in 1971. There is an elaborate spatial experience sensed
through the sequence. The building is divided into three principle layer.
The approach towards the building is perceived as a cube with carved corners.
7KHRSHQLQJVRQWKHJURXQGRRURQDOOVLGHVIRUPVDVHPLRXWGRRUVSDFH
ZKLFKDOORZVDQHDV\RZ7KHEULFKIDFDGHZLWKWKHRSHQLQJVJLYHVDQLP-
pression of a being light. One can enter from any side but can enter the library
through main entrance.The entrance door is not visible from outside. The entry
WKURXJKDQDUURZDUFDGHGHQHVWKHUVWOD\HU
J7KHIDFDGHJLYHVWKHLOOXVLRQRIKDYLQJJWKHDUFDGHVIRUPLQJWKHSHUL
IRXURRUVPHWHURIWKHJURXQGRRU7KH
RSHQLQJVSOD\ZLWKOLJKWDQG
VKDGRZV
43 Kotob, Basel.Spatial Layering: An Effect of Cubist Concepts on 20th Century Architecture, Arizona:
University of Arizona, 1989. p. 26
74
J3ODQVKRZLQJWKHFRUULGRUZLWKJ7KHVWDLUFDVHZLWKWUDYHUWLQHLQGXFLQJ
DUFDGHVSHRSOHVPRYHPHQW
the material layer of predominantly brick changes to predominantly travertine marble

ZLWKWKHVWDLUFDVHWKHUHH[LVWDVLPLODUGHQDWLRQRIVSDFHDWWRSRIWKHVWDLUVIRUPLQJ
another layer. spatial layer is extablished with the outher shell of the central hall/ pub-
lic space aligned with the end of parapet. With this layer, there is a change in mate-
ULDOSHRSOHHQWHUWKHSXEOLFVSDFHRQVHFRQGRRUWKHKHLJKWFKDQJHVWRGRXEOHWKH
size. Another spatial layer is seen with the outer and inner shells of the central hall.
JJ
75
The material and height remains the same before entering the central hall, there is
a succession of decrease in intenity of light while moving and smaller pictures of the
central hall starts appearing which builds up the anticipation in the minds
the climax is reached when people are near the membranes forming the center. this
allows people look in all direction and gain knowledge about the space and to evalu-
ate the journey till that space. The space is perceived as being surrounded by books.
glimpses of bookstacks start to appear behind the wooden balconies in the circular
cutouts.
JWKHVWDLUVWRKLJKHUOHYHOVKLGHEHKLQGWKHJWKHOLJKWLOOXPLQDWHVWKHVWDLUFDVH
FRQFUHWHFROXPQVEXWWKHOLJKWJLYHVDKLQWRIPDNLQJWKHFRQFUHWHPDWHULDOIHHOD
WKHPH]]DQLQHRRUOLWWOHOLJKWHU
the wooden clad balconies become a reference to the veiwers and upon reaching
WKHQH[WRRUWKHFXULRVLW\FRPHVWRUHVWWKHOHYHODERYHWKDWKDVDPH]]DQLQHZKLFK
leads to the double storey space
JVW-HURPHVWXG\JWKHGLYLVLRQRIWKHVFDOHIURPODUJHUWRKXPDQ
VFDOHIRUWKHUHDGLQJDUHDZKLFKZUDSVDURXQGWKH
EXLOGLQJ
76
JWKHERRNUDFNVWRZDUGVWKHFHQWHUKDYLQJ
RUHVFHQWOLJKWVNHHSLQJERRNVDZD\IURPGLUHFW
VXQOLJKWVRDVQRWWRGDPDJHWKHERRNV
JULJKWWKHFHQWHUKDYLQJWKHQDWXUDOOLJKWIURPWKHWRS7KHWZROD\HUVRIZRRGDQG

FRQFUHWHDUHSXUSRVHIXOO\GLIIHUHQWLDWHGWRDSSUHFLDWHWKHEXLOGLQJ
JWKHZLQGRZIUDPHVDQRXWVLGHYLHZJWKHWRSRRUZLWKUHDGLQJGHVNDORQJ
IRUWKHUHDGHUVWKHODUJHUVSDFHVDUHVLGHWKHZLQGRZIRUQDWXUDOOLJKWDQGWKH
GLYLGHGLQWRVPDOOHUVSDFHVZKLFKVWDUWVPDWHULDOVDUHNHSWQDWXUDOZKLFKFDQEHIHOW
WRWWKHVL]HRISHRSOHXSRQWRXFKLQJ
77
JKHLUDUFK\RIVSDFHVJWKHRXWHUOD\HUFODGHGZLWKEULFN
KDYLQJWKHUHDGLQJVSDFHZKLOHWKHFRQ
FRQFUHWHLQQHUVSDFHGHVLJQHGIRUERRN
VWRUDJHV
J7KHQDWXUDOOLJKWRFFXS\LQJWKHEXLOGLQJ
The whole journey builds up the drama of exploring the space through many different
layers. Apart from the layers in geometrical plan, other layers that help in enriching
the experiences are the material change from brick-concrete-wood-concrete and
ZRRGWKHXVHRIOHVVOLJKWLQVRPHVSDFHVZKLOHWRWDOOWHUHVQDWXUDOOLJKWLQRWKHU
spaces,and the play with dimensions and sizes which were used to distinguish var-
ious spaces. Each preceding layer played a role for the succeeding layer to experi-
ence the spaces.
78

Prelude Spaces

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Prelude Spaces

Uploaded by

Copyright:

Available Formats

Spatial Encoding of Prelude Sequences

02 PERCEPTION IN PRELUDE SEQUENCE

02.1 Idea of space

03 OBLIGATIONS OF PRELUDE SEQUENCE

03.1 Prelude with respect to ancient built spaces

04.1 Hutheesing Jain Temple

Music as a mean of communication with the introduction of prelude evoked

The proem is the beginning of the speech, like a prologue in poetry

Prelude is a term having several meanings According to the Oxford En-

The praelude is commonly a piece of confused, wild, shapeless, kind of intri-

01.2 IN DIFFERENT FIELDS

PRELUDE WITH RESPECT TO MUSIC

It is a small to medium length varying instrumental piece, which includes

Prelude was thought as a welcoming music. It is a pastoral, calm, harmo-

PRELUDE WITH RESPECT TO MOVIES

A prelude is created in dramas to condition the viewers mind. In the movie,

PRELUDE WITH RESPECT TO TIME AND MEMORY

Jo lee, an anthropologist suggests that walking can be understood as a per-

7 Schine, Jennifer. Movememt, Memory and Senses in the sounscape studies

PRELUDE WITH RESPECT TO SOUND

02 PERCEPTION IN PRELUDE SEQUENCE

Studying the phenomenon of prelude and what it is obliged to do in different

02.1 IDEA OF SPACE

Understanding the basic idea/concept of space is very important in architec-

Space is understood as being conceived or as a container of all things.

MAN AND SPACE

Space is an element from humans perspective. A space is conceived differ-

Atmosphere can be understood as an exchange between the material or the char-

Zumthor suggests that an atmosphere is mainly perceived through human emo-

02.2 SPACE PERCEPTION

Complex spaces can be understood with movement and vigorous assess-

KINESTHETIC DIMENSION IN SPACE

Kinesthetic is termed as The sensation in movement or strain in muscles

13 Boetgerr,Till. Threshold spaces: Transition in architecture, Switzerland: Birkhauser Verlag

The movement in the architectural building divulges new spatial experience

02.3 DYNAMICS OF PERCEPTION

Maurice Merleau-Ponty emphasizes this simultaneity of experience and sen-

Perceptual means to be aware through sense about something. Human be-

15 Merleau-Ponty, Maurice.Sense and Non-sense, Illinois: Northwestern University Press, 1964.

In Praise of Shadow, Junichiro Tanizaki mentioned that Japanese cooking is

18 Hadjiphilippou, Panagiotis. &RQWULEXWLRQRIYHKXPDQVHQVHVWRZDUGVWKHSHUFHSWLRQRIVSDFH

Oral sensation in terms of architecture means the mouthwatering feel one

B) NOTIONAL / ASSOCIATIONAL PERCEPTION

People tend to discover,dicipher and create meaning in social relations,

Perception can be distinguished between two types of perception by as-

21 George, Abraham. Development of symbolic pedagogical tools for communication in architecture,

Encoding of prelude sequence can be through coded meanings which are

As presented in Experiencing Architecture by Steen Eiler Rasmussen,

02.4 PERCEPTION WITH CONTEXT AND FAMILIARITY IN PRELUDE

Johnson expresses the relationship and the context within architecture in an

Context through art and murals is provided by repetition, relevance of the

)DPLOLDULW\LVUHODWHGWRDVSHFLFFRQWH[WRILQYROYHPHQWV26 Once the per-

02.4 SPATIAL NARRATIVE

Spatial spaces are seen as narratives - architecture demonstrates memories

02.5 PEREPTION OF MOVEMENT IN SPACE

In a movement space, an object is needed to communicate along with function.

Movement along the path consists of successions of approaches to goals.

Perception can be described as something that happens to or within a per-

These movements occur as a result of the human need to understand

An entrance implies a transition of traversing a boundary between two spac-

30 Till Boetgerr, threshold Spaces. pg-48

03 OBLIGATIONS OF PRELUDE SEQUENCE

03.1 PRELUDE WITH RESPECT TO ANCIENT BUILT SPACES

)DPLOLDULW\LVUHODWHGWRDVSHFLFFRQWH[WRILQYROYHPHQWV26 Once the per-

J7KHRUJDQLVHGVHTXHQFHLQMDSDQHVHVKULQHJRVKRMLQMDNDPDNXUDVKRZV

DEF

:$7(5Water is symbolic to purity. It has an associational quality. Water attracts

JDERYHZDWHUZLWKUHHFWLRQTXDOLW\

'LUHFWLRQDOLW\Water element also holds the potential to organize a space

JDERYHWKHWUXQNRIWUHHVLPSOLQJVSDFH

)/225Floor is an important physical basic element which plays role to facili-

)RUPFloor can be modulated or unmodulated depending upon the form.

JDERYHOHYHOVGHVLJQHGWRFUHDWHLQWLPDF\

'LUHFWLRQDOLW\The column gives dynamism to the space. A point extruded ver-

JDYHUWLFDOLW\RIFROXPQDVDSRLQWRIUHIHUHQFHEPDUNLQJDVDIRFXVLQVSDFH

JDERYHWKHSODQRI

JOHIWJRSXUDPVDVUVWUHIHUHQFH

JDOHIWLVRPHWULF

JULJKWWKHFHQWHUKDYLQJWKHQDWXUDOOLJKWIURPWKHWRS7KHWZROD\HUVRIZRRGDQG