280
1931, 36) Every step can be deployed as a preparation for
a specific climax within the spatial sequence, for the sake of
dramatization – provided the sequence is subordinated to an
intentional compositional principle.
A special form of sequence follows a constantly dimin-
ishing or increasing magnitude or scale. It may begin, for ex-
ample, on an urban square, and lead via successively reduced
degrees of > accessibility and heightened degrees of intimacy
through a sequence of rooms and towards a private chamber.
If a sequence beginning from the approach up to the interior
of a house is arranged in such a way that each individual
segments announce the goal to be attained, and is conceived
as preparation for adopting an appropriate attitude upon ar-
rival, we speak of an > introduction.
Literature: Blum 1980; Cullen 1961/1971> space-containing wall
> arcade, cellar, darkness, light, space shadow
> incorporation, layering, poché, space-containing wall, wall
> apartment, cellar, dwelling, floor, inside, postures, roof,
warmth and cold
> closure, density, (spatial), enfilade, gaze, measure, perspec-
tiveOur environment is filled with signs, which confront us from
all sides, often disguising the immediate experiential effect of
spatial situations and shaping experience in general. In prin-
ciple, all of the objects, elements and forms through which
cities and buildings confront us can be conceived as signs. In
one type of case, signs serve to indicate something, a specific
form, for example, marks an > entrance, a building offers its
silhouette from the distance as a physical marker that aids
> orientation within a town, another building calls attention to
itself through its emblematic design. In other instances, signsServant/served space
Shadow
Shell
Shelter
Sight
Sign