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licly. An individual appears in a similar way when entering
an urban plaza, provided the architecture supplies an appro-
priate frame. But an individual who enters a room within a
building also makes an entrance, where the architecture sup-
plies the scenic conditions for it. A simple act of > ingress
into a room becomes an ‘entrance’ in the sense intended
above when it is endowed with significance by the scenic
frame, one that may be perceived either as merely inciden-
tal or as dramatic. The arrangement of > staircases in rooms
or along plazas, the manner in which they lead into space,
the positioning of pedestals, spatial guiding and enclosure via
> axes, paths or frames, and the possibilities for making an
entrance onto balconies or at special > window surrounds:
all of these architectural resources contribute to such effects.
In contradistinction to the stage, however, we do not
enter architecture solely in order to display ourselves to oth-
ers, nor to observe others. The capacity of architecture to
endow a situation with the character of a > scene does not
necessarily call for an audience; instead, making an entrance
allows us to become aware of a > situation as a kind of self-
enjoyment.
Literature: Janson/Bürklin 2002> covering, filter, incorporation, layering, screening
> composition, force field, heaviness and lightness, order, sen-
sory perception, symmetry
> form character, expression, extension, gesture (spatial),
heaviness and lightness, movement, postures, towerThe notion of architecture-as-event contrasts with that of the
building as a definite, permanent form in two respects. First,
it is understood not as an object, but as a process, and second,
its eventfulness rests on the singular character of individual
conditions within the continuous flux of > time.Envelope
Equilibrium
Erection
Event