A spider conducts operations that resemble those of a weaver, and a bee puts to shame many an architect in the construction of her cells. But what distinguishes the worst architect from the best of bees is this, that the architect raises his structure in imagination before he erects it in reality. At the end of every labour-process, we get a result that already existed in the imagination of the labourer at its commencement. He not only effects a change of form in the material on which he works, but he also realizes a purpose of his own that gives the law to his modus operandi, and to which he must subordinate his will.

Karl Marx

2.4 The Ramp Scene of the Villa Savoye (Chenal, 1930)

(Source: Penz, François. “The Architectural Promenade as Narrative Device: Practiced Based Research in Architecture and Moving Image” Digital Creativity, Vol. 15 Issue 1, March 2004: 43)

 Penz says “Architectural promenade is a simple narrative device, probably the most ‘affordable’ to express spaces. It allows viewers to understand spatial relationships through identification with a character’s point of view and adherence to screen language rules.

“Architectural promenade is a simple narrative device, probably the most ‘affordable’ to express spaces. It allows viewers to understand spatial relationships through identification with a character’s point of view and adherence to screen language rules.” 

Adolf Loos imagines/construct the experience of space first in his mind then visualizes it. 

Colomina states that “Loos privileges the bodily experience of space over its mental construction: the architect first senses the space, and then he visualises it. 
Loos created architectural space (sequence of spaces) by referring to the idea of theatre box that is design- ing the gaze, movement and perception of the actor (user) observed by the spectator (habitants). 

David Adjaye uses an artist’s clarity of concept to create an engaging architecture that concentrates on materials and issues of space and identity. His architecture is emotive ; impacting the senses and feelings. Adjaye’s understanding the relationship between light materials and colour, the perception of materials in daylight and the perception of materials at dusk when they take a more profound meaning because they are not so naked. They start to play a more spatial role , a sort of theatrical framing.

David Adjaye Houses 
Recyling reconfiguring rebuilding
Edited by Peter Allison