91which lies above, probably because the ascending direction
corresponds to organic growth and overcomes > heaviness.
Architecture is responsive to our sense of directionality
in various ways. A significant resource for establishing di-
rectionality is guidance by means of a series of identical ele-
ments, i.e. in a colonnade. The effectiveness of such steering
is enhanced the more a space seems to derive its orientation
from its proportions. The corridor character of an elongated
space can be generated by flanking walls as in an urban street,
but also, for example, via a repetitive > sequence of elements,
i.e. the dramatic heightening caused when they seem to draw
together progressively in the distance. They ‘lead us further,
permit no wavering’, as Georg Simmel (1998) expressed it.
Playing an important role in the directional gesture of such
arrangements as well is the perspectival convergence of walls
or rows of pillars on both sides. Through the guiding function
of the walls, the directionality of a space may be repeatedly
altered, whether gradually or suddenly. An extreme instance
of such directional variety is the labyrinth.
Another medium of directionality is the setting of strik-
ing termini, i.e. by means of gates or > towers under the appli-
cation of the > axis principle or by accenting the middle in or-
der to centre a space or public square. Because, as phototropic
life forms, we turn towards the > light, lighting design has a
directional impact on interior spaces. In dark rooms, we strive
towards the light of windows or towards illuminated objects
or lighter zones, and derive directional orientation upwards
from the zenithal light above. Through the multifarious pos-
sibilities of brightness distribution, light is a particularly ef-
fective medium of directionality.> complexity, expansiveness and constriction, facade, gaze,
scale, sequence, size, tower
> door and gate, ingress and exit, inside and outside, intermedi-
ate space, opening, screening, views into/out of, threshold, wallDistance
Division