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Through spatial experience, we reach out, figuratively
speaking, by means of our personal space towards objects, and
this > extension of our experiential space is decisive for percep-
tions of architecture. Contained within our perceptual space,
moreover, are zones that are not perceived at a given moment,
i.e. the space behind our backs or on the other side of a wall,
into which directly perceived space is however integrated.
Literature: Arnheim 1977/2009; Gosztonyi 1976; Pallasmaa
1994, 1996; Seyler 2004> door and gate, ingress and exit, inside and outside, inter-
mediate space, opening, screening, threshold, views into/out
of, wall‘An architecture must be walked through and traversed,’
emphasized Le Corbusier (1962, 29). During a promenade
architecturale, the individual should sense in her movement,
‘the result of a succession of shocks’. The principal feature of
the sequence is linear succession, the way in which each ele-
ment follows a previous one. But in contradistinction to the
adjacency of objects or a succession of interesting perspec-
tives and views, sequences are experienced as a characteristic
> figure of movement. This also includes the interplay be-
tween the overall order and contrasting individual situations;
the spatial context is always present. In fact, the sequence is
not a progression from object to object, from one view to the
next, but a switch between contrasting situations, which also
encompasses changing mental states. The transition from a
dark, confining space to a brighter, larger one is experienced
as an expansion of the bodily sphere; the increase in room
height as a stimulus to an erect posture; changes in material,
form and coloration alter a room’s mood. The stages of the
sequence in an outdoor space shift among other things with
the gestural quality of the forms of public plazas or the at-Separation
Sequence