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or have the feeling of fusing, of merging together with the
plane upon which we lie.
There are spaces which stage recumbence, so to speak,
endow it with special architectural weight, i.e. by differentiat-
ing the space for reclining as a berth or roofed room within
a room, examples being alcove or canopy beds. Surrounding
the sleeper in such instances is an additional protective space
that fosters an intensive interiority, and in some cases even a
private ceiling bearing a painted sky.
Literature: Bollnow 1963; Eickhoff 1993> capacity, gestalt, monument, space-body continuum, type
> body (human), density (spatial), expansiveness and constric-
tion, field, force field, movement, structure, tectonics
> accessibility and exclusivity, cell, facade, inside and outside,
residence, screening, territory, view into/out of
> accessibility and exclusivity, apartment, cell, furnishing,
spatial structure, territory
> ascent, capacity, event, movement, order, ritual, situation,
time
> furnishing, interior, perspective, space-containing wall, space
shadow, wall, window
> movement, sequence‘Architecture is the art of proportion.’ By this, Bruno Taut
(1977) meant that all > architecture must rest upon a well-
thought out, coherent structure. For Taut, it was decisive that
every building display the correct interrelation of all parts, the
appropriate relationship between content and form, and the
relationship between the building and its prerequisites, includ-
ing climate, budget and the people who would use it. Viewed
in this way, the architectural in a highly general – and not
necessarily spatial – sense would be proportionality, the logos.
That is why Donald Judd speaks of ‘reason made visible’.Prägnanz
Pressure
Privacy
Private area
Process
Projection
Promenade architecturale
Proportion