University of the Philippines COLLEGE OF ARCHITECTURE

GERARD MICHAEL D. DY Master of Architecture: ARCH 203

October 2010 Prof. Gerard Lico

RESEARCH ON ARCHITECTURAL MENSURATION

1. Research Title: Size Matters. A study on space perception of landmarks in UP Diliman.

2. Abstract: Landmarks are important elements in places and urban spaces because they are reference points that indicate position and orientation, and are objects that symbolize the peoples history and ideals. Mainly they are significant architectural icons that be marked with identity of the place. Throughout our history, landmarks are created and practically became integral part in planning of places for people. However, some of these markers in our local setting were ineffective and ignored due to inferior design. Size and dimension are crucial in its design for it to have a clear form, good contrast with the background and, prominence of spatial location; the qualities of a successful and identifiable landmark. The urbanscape of University of the Philippines in Diliman, Quezon City shall hosts as study site. Site reconnaissance, surveys and questionnaires shall be collated and analyzed with considerations of theories in optics and perspective. This study aims to verify and investigate measurable factors that affect peoples visual perception on landmarks aside from the cultural significance, aesthetics, or context of the object that would assist architects and planners in designing its scale and siting, and strengthening the impact of these markers. Keywords: landmarks, visual perception, scale, theories of optics

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3. Introduction and Historical Background: The experience of space begins with the stimulation of our senses, and we associate many things as we perceive them through kinesthesis. Our sense of sight greatly affects how we intuit things and through our eyes we connect sense of direction, orientation, forms and volumes, and dimensions that virtually make up how we go through in our living. We can selectively identify tangible things both significant and insignificant relatively on what we value, and think or feel that is important especially if these things assist us in achieving our goals. In terms of experiencing our physical environment through movement in its space and time, objects are used to act as points of reference as we navigate. Path-space interrelationships and way finding are assisted by these objects that make familiarity with space easy and intelligible. These objects are commonly called landmarks. According to Lynch1, landmarks are points of reference considered to be external to the observer and are simple physical elements which may vary in scale. They act as guides, and needs to be unique. The key physical characteristic of this is singularity-being unique and memorable in its context. Landmarks become more easily identifiable, more likely to be chosen as significant, if they have a clear form, good contrast with the background and, are prominent of spatial location.

Throughout history, we can find enormous amount of structures and artefacts that served as important landmarks for the people. Its design is influenced by lots of factors like the ideals of society, the inspiration from religion, power of the

government, their instinctive response to climatic, adaptation to their geography, and a lot more unapparent but contributing factors. Most of these hold cultural significance and evidently proportionate in its meaning are their volume and size. From the development of the Great Pyramids in Gizeh, elegant obelisks that set as good point of reference to the entry of the Egyptian temples, to building of majestic and tall ziggurats where religious practices and political power are symbolized. Greek temples that glean
Figure 1: Roman Coliseum

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attention perched on hills were in good contrast to the clear skies due to its white marble and perfect proportions, and the nodal Roman Coliseum that is identifiable as total entertainment to some or a symbol of oppression and corruption. These great structures serve as landmarks in the city aside from serving their function and purpose, became images and icons of their civilization. Size and scale are imperative to these structures as they command prominence and were programmed to inspire awe to whoever who see them. Like the domes of Hagia Sophia and St. Basils Cathedral, lofty Gothic Cathedrals of Chartres and Cologne that marked the Byzantine and Gothic power set in stark contrast among the background of mediocre structures then achieving the sought after uniqueness and the ability to stand out among the ordinary. Then came the age of urban growth, socialism, and the intellectual development of man, the importance to landmarks as points of reference were increasingly meaning important adapted to its is of abstract still it very being
Figure 2: Piazza del Campo

though as the

scale idea

recognizable from afar, these markers in the urban city became stabilizers and

tools of order. Fine examples are tall piazza towers like the Piazza del Campo Siena as unique shape set as against the skyline and chaotic urban fabric. The Eiffel Tower in its showcase of modernity and technological innovations became the icon of mans achievement and advancement in science. Up to the modern period where we can see the application of abstracts to the meaning of structures like the skyscrapers that dot the city skylines marking not only the site of the central business districts but as emblem of progress and abundance. These landmarks are successful in their own right as they tell important story and meaning that reinforces its essence and being.

The forms of these markers vary from simple geometries like cubes similar to the Kaaba in Mecca, pyramids like the entrance structure to the Louvre Museum in Paris, and spherical like the Geodesic Dome of Expo 67. Many are monolithic and phallic in form, which is a demonstration of the male dominated building practice and patriarchal societies. Examples of these celebration of verticality are obelisks, towers

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and keeps, not to mention the sinuous skyscrapers like the modern creations of Norman Foster (Swiss Re Headquarters) and Jean Nouvel (Torre Agbar). Mostly are superlative in its size and height. Talking about the spatial prominence that is a prime characteristic of landmarks, it is achieved by making these markers highly visible from any locations. These structures should be set in local contrast with its nearby elements. The Duomo of Florence is a prime example of a distant landmark: visible from
Figure 3: Torre Agbar, Barcelona as a phallic landmark

near and far, by day or night, unmistakable dominant by size and shape, traditions, religion and

transit center coincidently is within its influence. Although much of these remarkable structures highly qualify as landmarks, Lynch2 said some local elements that become landmarks appears to depend as much upon how familiar the observer is with his surroundings. Other sensory experiences like smell and sounds sometimes reinforce the visual landmarks, although they did not seem to constitute landmarks themselves. Any object that displays clear contrast with its context may constitute the quality as a landmark to an individual. Some local elements that become landmarks appear to depend as much upon how familiar the observer is with his surroundings.

4. Significance of the Study As an indispensable element in a city, landmarks play important role in the identity of the place. It acts as reference points, as tools of way finding, and an aid to people in relating direction and orientation. Not to mention its social and cultural significance, these markers and structures add to the responsiveness of the city to its inhabitants. However, some of these markers in our local setting were ineffective and ignored due to inferior design. In Manila, where history and the story of people is as diverse as its physical environment, objects of interest and reference lack proper attention and articulation in its context. Most of these landmarks be it monumental and a lucid display of artistic qualities were ill sited and suffer from poor attention from the public. Value would be nil for these structures mentioning its cultural and psychological impact wouldnt it have been properly designed. As

physical landmarks rely its success in our sense of vision, the study aims to verify
4 | Size Matters: A Study on Space Perception of Landmarks in UPD

and investigate the measurable factors that affects the peoples visual perception on the landmarks aside from the cultural significance and context. The resultant assessment would be useful as design considerations for proponents of landmark construction especially architects and urban planners. The derived principles in scale, size and proportion that practically affect our perception of spaces will expectantly enhance the design and help in the fulfilment of function of these landmarks.

5. Description of Study Area The study area is the University of the Philippines, one of the premier institutions of education in the Philippines that boasts of its abounding history and a stash of architectural marvels. Filipinos are familiar with this state university as it home to multitude of important and influential personalities that shaped the nation. It is also the school for the young scholars of the country coming from different facets and social statuses. Situated in the center of Diliman, Quezon City and strategically near other important institutions in the country, the university campus itself is a city. Endowed with interactive communities of students, faculty and professionals set amidst lush greeneries and vernacular

architecture, UP Diliman is an interesting study area for this study. Various historical and cultural landmarks abound the famed academic oval which in itself is an identifiable feature with the university. Works of art and architecture can be seen in this campus as it became laboratory of creativity and careful experimentation of place making and urban planning. Masterpiece of national artist like Nakpil, Tolentino, and Locsin to name a few are installed and built here.
Figure 4: UP Diliman Map as base for identifying the landmarks

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Figure 5: Carillon

Figure 6: Palma Hall

6. Research Methodology Generalized field reconnaissance covering the site is foremost in gathering pertinent data and actual information for this study. Architectural photography would best verify and capture the visual experience and perception vital to extraction of values and observation data needed for analysis and verification of theories. Desk research is also used as support to the framework of the study. A report on the descriptive part of the identified landmarks and structures, plotting of general patterns and identification of each structures strengths and weaknesses shall also be completed. The test would be analyzed for frequency of identification of the elements and their connections To validate and verify theories on visual perception and its relation to the qualitative aspect of design and architectural mensuration, an interview of different people with different backgrounds and knowledge of the study area would be asked to identify and mark the structures or features that they identify on the given map with the interviewees knowledge to move about without too much difficulty. A follow up questionnaire will find out about the descriptive qualities they associate with the landmarks they identified like size, height, unique character, symbolic image, visibility and their personal remarks about collective memories or events they correlate with these structures. These data and materials would finally be synthesized in charts and report. Inter-relating the findings from the survey and the site reconnaissance will derive the justifiable assessment about the topic.

7. Review of Related Literature Human scale is a measure of real size- the dimension of the buildings, squares and streets are compared with the proportions of the human figure. It is

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commonly recorgnized that buildings should take account of the scale of the human figure, and should if possible express this dimension by its own subdivisions. (Moughtin, 2003) According to H. Maertens3, the part of our field of vision occupied by any object is defined by the rays from the outline of the object to the eyes. This general field of vision is of two overlapping irregular conical shapes, about 30 deg above the eyes, 45 deg below and 65 deg to each side. In addition, to the general field of vision there is detailed field of vision which is very narrow cone within the larger one. According to the research, the difference is determined by this narrow cone measuring one minute which means we cannot distinguish any object at a distance more than 3,500 times its size! It is the limitations set by this geometry that defines the varieties of urban scale. In addition, concerning the issue of articulation of form we could use the theory of vision that at a distance of 35 meters the human face become featureless. We can distinguish people at 12m and a person can be recognized at 22.5 m body gestures can be discerned at 135 m this is also the distance that a man can be distinguished from a woman. We can see people as such up to 1200 meters. I just thought that theres a relationship on how the landmarks were set in the urbanscape. Size matters alongside with its visibility. Visibility can be controlled by adjusting its scale and setup on the ground along side with its relationship with other adjacent buildings. UP Oblation is identifiable because it is clustered and associated with the artistic building behind it. Lynch5 also admonished that important point, that landmarks may be isolated just like the monuments and other monolithic points of references, except for the large and very singular landmarks, are weak landmarks since they are easy to miss and required sustained searching. According to the notes of Leonardo da Vinci6, since the eye sends out a multitude of lines which surround this chief central one and since these which are farthest from the centre in this cone of lines are less able to discern with accuracy, it follows that an object brought close to the eye is not at a due distance, but is too near for the central line to be able to discern the outlines of the object. So the edges fall within the lines of weaker discerning power, and these are to the function of the eye like dogs in the chase which can put up the game but cannot take it. Thus these cannot take in the objects, but induce the

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central line of sight to turn upon them, when they have put them up. Hence the objects which are seen with these lines of sight have confused outlines. Another study of the philosopher Aristotle7 and renaissance theorists states that buildingss unity and wholeness should be perceived at a glance and the maximum angle at which a building can be seen clearly in this way is at 27deg, which was reinforced by the research work done by Maertens. These studies in theories of optics are important principles in the study of visual perception which supports facts that affects our sensory appreciation of the landmarks.

8. Findings and Assessments The survey revealed realizations and verified measurable factors that affects our visual perception of the landmarks. Identifying the structures or physical

Identifiable Landmarks
Oblation Palma Hall Sunken Garden College Bldg Library Melchor Hall others
Figure 7: Identifiable UP Landmarks according to Survey

features that the respondents marked on the survey map, a list is generated and percentage is obtained. Refer to figure 5: Identified UP Landmarks. It is found out that UP is identified with the Oblation. Interestingly, Palma Hall is also identified as the College of Arts and Letters though some mistakenly identify it as the building behind the Oblation. Most of the respondents are not familiar with the name of the buildings and name it after the college they house, like Melchor Hall with the College of Engineering, Benitez Hall with the College of Education and the Architecture Building. Sunken Garden got a high percentage too though its location is mistakenly marked on the map. The Library is linked visually with the Sunken Garden.

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Quezon Hall which is the background building of the Oblation is coincidentally identified with the naked statue of the Oblation. As the graph below shows, the statue of Oblation is also referred to as tall and big. Visibility from
Figure 8: Quezon Hall and the Oblation

afar is an important feature of the landmark, which is

attributed to the strategic siting of the Oblation at the end of the visual axis made by the University Avenue.

12 10 8 6 4

big/tall/far small/short/near

2
0 size height visibility

Figure 9: Descriptive Qualities Attributed to UP Oblation

Single landmarks unless they are dominant ones, are likely to be weak references themselves. This observation supports the theory that if they are supported or clustered with bigger structures they reinforce each other in additive way. Oblation in UP is identifiable with the Quezon Hall such located to act as big backdrop. Support for this statement is evident in other equally important landmarks that are not identifiable like the Tribute to Higher Education located along the University Avenue, the Nine Muses which are fenced in and covered along eye level with a wall, the El Grito de Balintawak in front of Vinzons Hall

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which is surprisingly unidentified but near the identifiable jeepney station to Katipunan Avenue.

Figure 10: The Carillon hidden

Unexpectedly, the Carillon which is taller and bigger in scale is not included in the list! It is equally important and significant culturally in the UP community, though most of the respondents identify UP Theatre rather than this tall and big landmark. Architecturally it is a well articulated building, but poor visibility from afar and lack of enough setbacks made it unidentifiable. Size matters in the visual perception of landmarks along with clear sight lines and good visibility. Smaller landmarks are better to be clustered big structures to enhance its visibility. Cultural significance easily identify and add value to the landmarks Good location is also an important consideration.

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Applying the theory of optics and cone of vision, we can derive the effective clear distances these landmarks should maintain to make it identifiable and be effectively serve its purpose and be properly appreciated. The result of the tangential computation is that the clear distance is approximately twice the height of the landmark structure.

A landmark is yet stronger if visible over an extended range of time or distance, more useful if the direction of view can be distinguished. If identifiable from near or far, while moving rapidly or slowly, by night or day, it then become a stable anchor of perception of the complex and shifting urban world.

Recommedations and design considerations stemmed out of this study are the following: 1. Landmarks should be carefully designed with consideration to its location and scale. Smaller landmarks should be clustered with bigger structures or landmarks to maximize the effect of the landmark. 2. Control of the landmark and its context may be needed: like the restriction of signs to be specified surfaces, height limits which apply to the adjacent structures while maintaining a minimum clearance of two times its height. 3. Clear visibility from afar is an important site consideration for the landmarks. Walls or structures that visually block the landmark must be avoided. Trees

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may enhance its site development but landscaping materials like trees must avoid being an obstruction. 4. It can be remarkable if it has clarity of the general form, as does a column or a sphere, if it also have some richness of detail and texture, it will surely invite the eye. Cities are beautiful with well designed elements. This contributes to the overall goal of making quality places of work, live and play, which is a factor in improving the quality of our lives.

9. References
Lynch, Kevin. The Image of the City (USA: MIT Press, 1960) Moughtin, Cliff. Urban Design: Street and Square (3rd ed.; Oxford Great Britain, 2003) Richter, Jean Paul ed. The Notebooks of Leonardo da Vinci, 1880 H. Maertens. The Optical Scale in the Plastic Arts, (2nd ed., Wasmuth Berlin 1884) Aristotle. Op cit, p404 http://mathcentral.uregina.ca/QQ/database/QQ.09.08/j/Jolie1.html

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