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might not spread itself out, but may instead extend, align it-
self, wrap around a building, or seal itself off. In our imagina-
tions, such behaviour is not added to the form as an external
activity, but is instead grasped as a property of the form itself.
Even the simplest element, such as the edge of the
house, appears to ascend or to fall, to lead us around
or to close itself off. Walls run parallel to one another,
approach one another, deviate from one another, or curve.
A ceiling either sags downward or allows the space to grow
upwards into a vault. In many instances, a form also ex-
presses its attitude towards its surroundings. Convex hol-
low forms bulge outward or expand, or push against oth-
ers; concave forms open themselves up, create a sense of
pull, or enclose (> concavity), while plane surfaces are adap-
ted to being conjoined. Neighbouring form elements are
linked to one another, i.e. where continuous edges or sur-
faces seem to be extended, for example a steep roof into a
vertical wall, or a continuous form of connected roof sur-
faces. Individual elements or parts of forms are shifted
into one another, descend, or rise in relationship to one
another; spaces and architectural elements interpenetrate, are
superimposed, or fuse. The sense of movement inherent in a
building – when it is conceived as a living organism – also
shapes its form character. Marginal cases of this dynamism
include the traits of immobility and expressive quiescence. All
of these dynamic attributes are expressive qualities of indi-
vidual architectural or spatial forms.
In many instances, however, it is impossible to separate
them from an overarching spatial > gesture, although this un-
folds only in relation to the atmosphere of a total situation,
and in ways that affect our behaviour.- For form character, a substantial role is played by ex-
pressive qualities that are based in sensory perceptions, and
which are in many cases transported via > synaesthesia. Soft-
ness, for example, is an expressive quality that contributes to
the character of a built form at least initially through tactile