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to changes in family size or living habits through flexible ar-
chitecture and easily altered plans, for example by means of
dividing walls that can be either dismantled or repositioned.
More than structural elements, however, it is regularly occur-
ring changes in > furnishings that reflect an occupant’s evolv-
ing living processes. These often lead to radical reinterpreta-
tions of possibilities for habitation and movement.
A building also experiences temporal change through the
periodic alternation between day and night-time. As the sun
moves, rooms are influenced by the changes in illumination
and darkness. Variable relationships between warmth, light
and atmosphere generate a range of conditions for activities,
to which the building in turn reacts with its elements and fea-
tures, for example through curtains, sun blinds, or illumina-
tion by artificial light. The spatial relationships of exterior ar-
chitecture in particular are altered by the cycle of the seasons,
for example by snow and tree foliage.
A special type of temporality is expressed in architec-
ture in an imaginary fashion. Through its > form character,
a building generates an impression of movement, seems to
grow taller, to approach us, thereby displaying a dynamic
> gesture. This is the basis for the forms of expression upon
which Expressionistic architecture or illusions of velocity
created by Futurism were based, which are under continual
further development today through digital resources. In an
imaginary sense, temporality in architecture is also concep-
tualized through the notion of space-time, which is intended- in ways dependent upon Cubism – to unify space with time
through the simultaneous perception of spatial objects from a
variety of standpoints. Through transparency and spatial su-
perimposition, such as the continuous glazing of the Bauhaus
Building in Dessau, it was attempted to bring together the
disparate temporalities of interior and exterior through forms
of simultaneity.
Like no other medium, architecture stores time (> mem-
ory); not only through the aging that is evident in > patina