Fundamental Concepts of Architecture : The Vocabulary of Spatial Situations

101 or a continuation of the sequence of rooms is suggested by mirrors. The enfilade reinforces the impression of being able to ...

102 licly. An individual appears in a similar way when entering an urban plaza, provided the architecture supplies an appro- pri ...

103 First, participating in every > situation that is experi- enced through architecture, and going beyond the static pres- e ...

104 architectural > capacity. This is a quality that provides space for use-as-event by avoiding defining structure in relati ...

105 to breadth and height, which can be projected onto a single plane upon which we gaze at right angles, or to depth, which ex ...

106 experienced in spaces that not only open on all sides, but also spread themselves out below, as in mountainous terrain. The ...

107 as a liberating release. A continuation through open space accommodates the drive towards expansion of our > personal spa ...

108 That a room is experienced as architectural space is not dependent upon its characteristics and elements as such, but instea ...

109 objects. A description of views into and/or from a building, for example, explains the meaning of a > window, while a > ...

110 cause here, expression rarely emerges directly from the struc- tural form itself, but instead as a rule from the overarching ...

111 We do not reach towards things solely by means of the gaze; instead, the entire corporeal sphere extends outward into space. ...

112 disposition. The built ‘blob’, on the other hand, simulates the personal spatial ‘bubble’ in a tensionless way. For our move ...

113 The word facade is derived from facies, the Latin word for face, and refers to the outside wall of a building. The term’s an ...

114 generally avoids, and is inviting or aggressive, provocative or expectant. An oblique approach has instead the effect of gui ...

115 The facade casts its > space shadow onto the area ly- ing directly in front of it. It functions as a direct backdrop or s ...

116 It is possible to distinguish two types of field character; ef- fective between masses in one case is a kind of ‘gravitation ...

117 exchanged for another figure. In the other type of field, this playing field characteristic becomes the principal feature. ...

118 ences, or moves in a free, > roaming fashion. In contradistinc- tion to a structure of tension between masses within whic ...

119 already presupposes a gestalt-like conception of the elements that combine to form the process of ascending an individ- ual ...

120 > spatial structure of an architectural layout to become intui- tively clear. The interplay between figures of movement a ...