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velopment; on the other, it supplies reference points for future
development.
Literature: Rossi 1966/1982> appeal, atmosphere, colour, darkness, form character, light,
odour, soundIn legalese, buildings are referred to as ‘immovable property’;
they are regarded as being immobile and static, and we rely
upon their durability and rootedness in one place. Despite
this, an essential trait of architecture is that it can be ade-
quately experienced only through movement. Fundamental to
the spatiality of every built complex – no matter how solidly
grounded it may be – is its comprehensibility as a totality
only through the adoption of a variety of positions and per-
spectives. Architecture and movement condition one another
reciprocally. The movements needed to perceive a building
are dependent upon its spatial > structure, while movements
shape our perception of it. Our > sensory perceptions encom-
pass, in particular, the (proprioceptive) sense of position and
the (kinaesthetic) sense of movement. The spectrum of types
of movement comprises the extreme of rest, including the
adoption of certain positions and > postures such as sitting,
lying or standing. The influence of various types of move-
ment can extend so far that we may experience a building
in completely different ways depending upon the movements
or attitudes we adopt when perceiving it. In comparison to
the pedestrian’s perspective, locomotion in a vehicle may
transform the appearance of buildings, cities and landscapes
even further in ways that depend upon the type of transport
employed, velocity, and type of vehicle taken. The city of the
pleasurably strolling flaneur differs from that of the driver in
a car who passes through it in order to reach a specific desti-
nation, or a skateboarder who reinterprets it experimentally.Mood
Movement