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times, however, this may involve suggestions for movement
that we can cannot possibly perform, but only imagine, one
instance being flight. Baroque architecture, for example, is
capable of conveying ecstatic agitation down to the smallest
detail.
Occasionally, an individual feels addressed by the spatial
gesture of a total situation, which he or she addresses in a
specific way, not only by imitating the circumscribed gesture
through real movements, or by adopting the prescribed pos-
ture, but already in following the gesture imaginatively. Here-
in lies a special quality of architecture, one that prompted the
philosopher Ludwig Wittgenstein to compose the sentence:
‘Remember the impression one gets from good architecture,
that it expresses a thought. It makes one want to respond with
a gesture.’ (1980, 22)
Literature: Jäkel 2013> axis, depth, directionality, gaze, movement, route
> arcade, movement, rhythm (spatial), route, sequence
> depth (spatial), enfilade, facade, incorporation, inside and
outside, intermediate space, layering, stairs
> ceiling, light, opening
> order, row, sequence, spatial structure, typeTo have ‘the ground beneath our feet’ is something we experi-
ence with our bodies. We rarely question the certainty that the
ground will bear our weight, that its unyielding solidity will
enable us to remain erect in opposition to the resistance of
gravity, to push off from the ground and move forward. That
is why there is virtually nothing as disturbing as the instabil-
ity of the ground during an earthquake, or the loss of firm
footing when we sink into a bog. As soon as we stand erect,
we must defend our precarious posture against the forces of
gravity by engaging in movements that maintain a dynamicGoal
Going
Gradation
Grazing light
Grid
Ground