挑一个点说。

注意你题中所说的，那些随着场所的变换而出现不同的空间。
这些出现的东西，要有布置，就像写一篇小说，需要铺垫，需要奠定基调。

一部小说的开头，即便是网文，也会在开头有一段描写，或是铺垫的文字。
“今天，妈妈死了。也许是在昨天，我搞不清。”

“一天早晨，格里高尔•萨姆沙从不安的睡梦中醒来，发现自己躺在床上变成了一只巨大的甲虫”

“Lolita, light of my life, fire of my loins.My sin,my soul, Lolita。”

可以小桥流水，可以平地惊雷，但不能无所作为。
放在建筑中，事实上，这就是你空间体验的开端。
一般来说，建筑，是需要你慢慢接近的

（图片来自华黎微博，侵删）
田野小教堂，曲曲折折，在无名的田野中步行十几分钟。
”你在下午四点来，一到三点我就开始幸福了。时间愈近，我愈幸福。到了四点钟，我已坐立不安。“

怎样一个进入建筑的方式，是需要被考虑的，这是基调，是空间体验的开端，有些入口，你甚至被引导着看完建筑全貌。




我们看到很多照片里场景式的场面，都只是一个片段，某一个瞬间。
那是空间，但那往往是一个空间序列的高潮。

你的体验，需要有一个酝酿。

由a→b→c→d→e，是有一系列的空间感受的，
你的视线穿越窗洞，看到那边的庭院
视野会被收束，被放大
会被压低，抬高
会明，会暗
会和你的路径分离
最终，达到空间体验的高潮

如小说、如音乐、如诗歌。

只不过，对于那些伏笔、复调、首颔颈尾，我们用的是建筑的语言。
用光线，用材料，用你的语汇。

-------------------------2015-1-12-----------------------

Images of Action

Stepping stones set in the grass of a garden are images and imprints of footsteps. as we open a door, the body weight meets the weight of the door; the legs measure the steps as we ascend a stairway, the hand strokes the handrail and the entire body moves diagonally and dramatically through space.

there is an inherent suggestion of action in images of architecture, the moment of active encounter, or a ‘promise of function’125 and purpose. ‘the objects which surround my body refl ect its possible action upon them,’ writes Henri Bergson.126 It is this possibility of action that separates architecture from other forms of art. as a consequence of this implied action, a bodily reaction is an inseparable aspect of the experience of architecture. a meaningful architectural experience is not simply a series of retinal images. the ‘elements’ of architecture are not visual units or Gestalt; they are encounters, confrontations that interact with memory. ‘In such memory, the past is embodied in actions. Rather than being contained separately somewhere in the mind or brain, it is actively an ingredient in the very bodily movements that accomplish a particular action,’ Edward Casey writes of the interplay of memory and actions.

The experience of home is structured by distinct activities – cooking, eating, socialising, reading, storing, sleeping, intimate acts – not by visual elements. A building is encountered; it is approached, confronted, related to one’s body, moved through, utilised as a condition for other things. Architecture initiates, directs and organises behaviour and movement. A building is not an end in itself; it frames, articulates, structures, gives significance, relates, separates and unites, facilitates and prohibits. Consequently, basic architectural experiences have a verb form rather than being nouns. Authentic architectural experiences consist then, for instance, of approaching or confronting a building, rather than the formal apprehension of a facade; of the act of entering, and not simply the visual design of the door; of looking in or out through a window, rather than the window itself as a material object; or of occupying the sphere of warmth, rather than the fireplace as an object of visual design. Architectural space is lived space rather than physical space, and lived space always transcends geometry and measurability.

In his analysis of Fra Angelico’s Annunciation in the charming essay ‘From the Doorstep to the Common Room’ (1926), Alvar Aalto recognises the verb-essence of architectural experience by speaking of the act of entering the room, not of the formal design of the porch or the door.

Modern architectural theory and critique have had a strong tendency to regard space as an immaterial object delineated by material surfaces, instead of understanding space in terms

of dynamic interactions and interrelations. Japanese thinking, however, is founded on a relational understanding of the concept of space. In recognition of the verb-essence of the architectural experience, Professor Fred Thompson uses the notions of ‘spacing’ instead of ‘space’, and of ‘timing’ instead of ‘time’, in his essay on the concept of Ma, and the unity of space and time in Japanese thinking.129 He aptly describes units of architectural experience with gerunds, or verb-nouns.

——《The Eyes of the Skin》

来源：知乎 www.zhihu.com
作者：井鲤

【知乎日报】千万用户的选择，做朋友圈里的新鲜事分享大牛。 点击下载

此问题还有 15 个回答，查看全部。
延伸阅读：
如何欣赏一座建筑？
王澍的建筑设计好在哪里？