The field of influence of a building goes beyond its volumetric limits. In this sense, therefore, buildings are not limited to being placed outside, but actually influence the outside. The experience of understanding the environment involves the perception of the volume of air surrounding the observer. The built form triggers the initial judgment mechanism where a person begins to evaluate the built environment through his knowledge of the topic. Spatial exploration of built form involves movement, which is a function of 'motion', 'distance' traveled as a result of 'time' taken and 'experience' of space. Motion, in a strictly physical sense, is a change of position with respect to a reference system of spatial coordinates. Gyorgy Kepes says. “We live a mobile existence… The earth rotates; the sun moves... light and shadow chase each other in a tireless game; shapes appear and disappear; and man, who experiences all this, is himself subject to every kinetic change. ”Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Things grow and disintegrate; they change shape, size and position with respect to themselves, to each other and to us. The perception of physical reality cannot escape the quality of movement. The understanding of spatial facts, in the sense of extension or distances, involves the fusion of space-time, which is movement. Despite all this mobility, the essential characteristic of the world as we perceive it is in fact constancy and stability. The world as we perceive it is made up of things with persistent identity, existing in a frame of reference of stationary space. It is the change in position of our eyes with respect to an object that reveals its three-dimensional character. There is therefore a fundamental figure-ground relationship of constancy and change. One does not exist without the other and together they construct all the figures of experience. The perception of the spatial world is controlled by changes in the textual characteristics of visual surfaces. From an optical point of view, we always divide the environment into two components: the existing vision and the emerging one. [3] each event in the sequence is relative; contrasted with the remembered past and will influence the observer's attitude, response and perception of the future. A dark space accessed from an even darker tunnel can seem very bright. Past, present and future are united. Perception depends to some extent on the knowledge and expectation of the viewer in a given situation. The observer selects and organizes the perceptual world through the assimilation of the senses of touch, smell, hearing and sight, individually or collectively, depending on the given situation. He can enjoy it on a purely sensorial level, identify it structurally for orientation purposes or he can add meaning to it. a viewer may fail to perceive what is in front of them if it is perhaps unfamiliar, overly complex, or poorly lit or camouflaged. In this case, he will try to look at the experience with that of any previous, similar encounter. In the words of Bruno Zevi, “…when a man approaches a building, and inside the building, studying it from successive points of view, he himself creates, so to speak, the fourth dimension, giving the space an integrated reality . "Remember: This is just an example. Get a custom paper from our expert writers now. Get a custom essay Kenneth Frampton explains this through the example of a freestanding vertical pillar. It creates an impression of stability, of staying power. When a body approaches the column, from the contrast between the body's movement and immobility.