20

Zonification: Whereas post 16 points out that the size of a space in plan is the essential attractive force in circulation, zonification is the overall quality of a space. The primary qualitative driving forces are changes in heights, mostly of the ceiling, and brightness of a space. Other charactaristics can come into play, such as flooring material. Although qualitative, as is true with magnets, with some interpretation by the designer, zonification should be relatively quantifiable. For simplicity, this post discusses the two common types of zonification: vertical openness and brightness. Vertical openness is the sense of space gained through sight lines above eye level. The greater the sense of largess in a space as a result of zonification, to greater the tendency for it to attract individuals. The most common of example is with ceiling height. Balconies, clerestories and skylights can also influence vertical openness. Brightness tends to have a similar effect as vertical openness. Zonification touches on another aspect of the architectural plan: spatial zones. Spatial zones refers to the geometric arrangement of spaces, in plan, for the purpose of creating a sense of enclosure, space, and place. Zonification is linked to spatial zones in that it usually most effectively used when done in conjunction with spatial zones -since ceiling height, vertical openness, and light can be key to creating a sense of enclosure, space, and place. The Hagia Sophia is a wonderful example (perhaps one of the word's best) of the use of zonification. My personal experience with the building interior was one of great awe, and it is my sense that most who walk into the building are overtaken by its power during their procession from the exterior to the nave, as I was. There are a number of devices used in the interior of the Hagia Sophia including classic proportioning, materials, murals, and so forth, however, height and light stand in my opinion as the most important. From the exterior, the spaces rise in sequence until the nave with the highest point at the central dome. This in itself is not enough to produce the unique awe of the building, but add the windows, not in an obvious arrangement to maximize openness and light but, in the contrary, so that their light and openness serve to accentuate the darkness and solidity of the highest spaces, including the central dome -- an architectural counterpoint. Height nor light obtain their fullest potential (or, perhaps, understanding, in a spiritual sense) yet, being so close acheiving thier potential, the overall effect is one of amazing grandeur and mystery.