These images attempt to understand the issue of power and social logic in relation to built form. I used the space syntax analysis method developed by Hillier and Hanson in their book The Social Logic of Space (2003), in which they interpret, building plans into three primary spatial syntactic structures.
A) Enfilade: linear structure
B) Network: Ringy structure
C) Fan: Branching structure
I adapted their method of space syntax analysis to uncover the socio-spatial structure. Each building plan has been colour coded to demonstrate how life is framed within this planning. These structures are designed in a linear fashion. In architecture, this type of planning and structure is referred to 'Enfilade'. Dovey describes enfilade or linear structure as a ‘string of spatial segments in sequence’ in which ‘there is no choice pathways from one segment to another’ (Dovey 2008:24). The second model is the network or ringy structure, which is the opposite of the enfilade model in that there is a connection between each section and access to different parts of the plan. The third plan is the fan or branching model, which Dovey explains 'controls access to a range of spaces from a single segment, like a corridor or hallway in practice, nearly all buildings are structured in a combination of these basic syntactic structures' (24). Although these three plans are similar, they each have a unique spatial structure that will determine different social relations. As evidenced by the works and colour-coding analysis presented here, the developers and organisers of the Pardis 11 project used the enfilade or linear structure planning in all of the tower houses. Analysing the enfilade or linear structure reveals that, in this type of planning, the degree of control in each section of the plan is greater than the other two. Dovey observes that 'the linear or fanned structure controls circulation and social interaction in certain key spaces, the degree of 'control' of a given cell is the degree to which access to other cells must pass through it' (24).