Fundamental Concepts of Architecture : The Vocabulary of Spatial Situations

81 Indoor darkness need not necessarily signify deficient illumination, but may instead create its own experiential quality. Alr ...

82 low us up, but may also, provided they are experienced with aesthetic distance, convey feelings of > sublimity. Within Wes ...

83 > atmosphere, light > atmosphere, covering, ornamentation, wall A room with an especially high density appears impenetr ...

84 that are penetrated only by niches and slits. The solidity of heavy, impenetrable solid masses can endow spaces with a con- s ...

85 density than through the convergence of multifarious social and cultural worlds. A sense of tension that reaches into the dep ...

86 through the twilight atmosphere of the > spaces of resonance of chambers, or beneath ceilings and vaults, or through the a ...

87 indefinite, leads to no clear centre. Such folded structures flow instead into indeterminate depths, while nonetheless offeri ...

88 Detailing may follow various strategies; points of con- vergence may be accented, underplayed, concealed, or in the case of s ...

89 paratus. Opposing the possibility of allowing a detail to serve various functions is a strategy that separates its various ta ...

90 More evident than the directionality of cubic spaces is that of oblong spatial forms, which appear a priori longitu- dinally ...

91 which lies above, probably because the ascending direction corresponds to organic growth and overcomes > heaviness. Archit ...

92 By virtue of the fact that a door can be opened, it can also ef- fect closure; only because it can be closed does it function ...

93 A particularly complex situation is opened up by the door of a private house or an apartment by virtue of the manifold modula ...

94 being especially tall, narrow doors of the kind encountered in official buildings, which give visitors feelings of importance ...

95 the room, as though with a dance partner whom we hold by the hand, then switch to the handle on the other side of the door, p ...

96 ‘so that the entrant suddenly stands there, diffusing unease. If the door instead opens against the space of the room, an ent ...

97 and which nonetheless seems to form a unity with the out- side upon greater familiarity. Also handled dramaturgically are the ...

98 a second body. Gaston Bachelard (1964/1994) speaks of the ‘motherliness’ of the house. Peter Sloterdijk (2004) has called att ...

99 comes animate, figuratively speaking, meaning that it seems to express specific bodily states, sensations, emotions or charac ...

100 and its overcoming all the way to various articulations and rhythms. Perceived differently in relation to a traditional unde ...