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> spatial structure of an architectural layout to become intui-
tively clear.
The interplay between figures of movement and built
form is constitutive for architectural > gesture. There exist
situations whose > atmospheres as a whole are borne by ges-
tural impulses, so that the dynamic expression of the built
form elicits specific movements. The gestalt-like incisiveness
of such architectural gestures rests on the especially mani-
fest correspondence between figure of movement and spatial
design.
As central elements of a ceremony, figures of movement
are deployed as bearers of meaning of additional content, for
example lordly or sacred ones. The architectural reinforce-
ment of such ritual actions are found, for example, in the de-
sign of the sequence of supports along procession routes, in
the dramaturgical potential of Baroque staircases, and in the
stop-and-go character of the approach to the Acropolis via
the Propylaea as described by Jürgen Joedicke (1985).
Literature: Dürckheim 2005; Jäkel 2013> body (architectural), context, gestalt, poché, space-body
continuum, urban designThrough a filter, two spheres are separated and, as a result of
its permeability, at the same time reconnected with one an-
other. Just as the word’s etymology suggests (to ‘filter’ some-
thing is to allow it to pass through felt), a selection comes to
expression as though through a sieve; in architecture, a filter
between inside and outside or between individual rooms is
partially permeable to light, air, noise or movement. This filter
effect is articulated in architecture in multifarious ways. Ex-
amples are the positioning of rows of columns and supports,
grid or lamellar structures, the sashes of subdivided windows,
more-or-less permeable types of glass, and textiles or screensFigure-ground relationship
Filter