Fundamental Concepts of Architecture : The Vocabulary of Spatial Situations

261 of a simple shelter or rain covering. In contrast, the flat roof, an inconspicuous horizontal panel that is simultaneously v ...

262 homogeneity and coherence of squares and streets, for exam- ple when the fronts of houses display either eaves only, or gabl ...

263 also capable of pulling together a multilimbed building as a totality. As a rule, the peculiar gesture of the building culmi ...

264 beams struts offers itself as a clandestine retreat. We ascend into these upper reaches – loft, storage area or attic room – ...

265 cesses, and connections is referred to as a hodological space, as a ‘route space’ (Greek: ὁδός, odós, path, way). In such a ...

266 of the > lights, through directive elements such as guide walls and paths/lanes, supported by materials particularly of t ...

267 The uniform beat of a simple row or series, on the other hand, is the simplest visual or kinaesthetic articulation of a temp ...

268 can be extended indefinitely, an apparently endless series can evoke a sense of yearning towards infinite distances. Literat ...

269 fects. The sense of scale also changes when we approach a building, and depends upon proximity and upon the change from a fl ...

270 mainly at close range. Measured by this standard, buildings and structures cannot be arbitrarily enlarged or reduced in scal ...

271 other hand, it is possible for a building that looks large to fail to convey a feeling of size’, says Geoffrey Scott (1914). ...

272 for featuring everyday events in which actors and spectators are involved. With architecture, however, in contradistinction ...

273 atrical architecture, nor of settings that are prepared sceno- graphically. Instead, every designed space can potentially co ...

274 hell is added only at the symbolic level. In a way analogous to the scenic processing of the active climbing of a staircase, ...

275 It is not just the spatial envelope that is effective as a screen, but also enclosures of various kinds, along with thresho ...

276 by the emblematic impact of the field of the wall that frames the opening. Literature: Baecker 1990; Feldtkeller 1989 > b ...

277 organ – brushes gently against a lightweight curtain, when we experience the chafing of a rough plaster surface or the rustl ...

278 Through spatial experience, we reach out, figuratively speaking, by means of our personal space towards objects, and this &g ...

279 mospheric character of urban quarters. Landscape sequences are based for example on the experiential contrast between views ...

280 1931, 36) Every step can be deployed as a preparation for a specific climax within the spatial sequence, for the sake of dra ...