All relate to Not only can you see touch and hear architecture but through these senses you can also feel it In Dickens s novels buildings and interiors acuire souls in some demoniacal way corresponding to the souls of the inhabitants The author indirectly touches upon literature uite a few times and after reading this sentence I immediately remembered how Mr Dickens s descriptions of scenery and buildings feel vivid and real so much so that I feel anxious when the time a character spends there is elongated So it is Mr Dickens Himself That EXPERIENCED Architecture that EXPERIENCED architecture the first place and then used his craft of storytelling to make the readers experience it through words I highlighted so many parts of this book that it s impossible to summarize them in a short review but I will conclude this with my very favorite uote from the book If we believe that the object of architecture is to provide a framework for people s lives then the rooms in our houses and the relation between s lives then the rooms in our houses and the relation between must be determined by the way we will live in them and move through them I liked this because it was an architecture book And it had great photosThe words didn t do a ton for me but they were still good and it suggested a few new things to think about for me the sonic shape of a space for instance I loved the impression the author gave of how badly he loved to sing and whistle in marble bathroomsThere was one passage that reminded me of the Whitman poem When I Heard the Learned AstronomerReminds me of Whitman learned astronomerA German theorist has described at length how color can be used to emphasize not only what is large and what is small but also what is up and what is down The floor he says like the art we walk on should give an impression of gravity Therefore it should have the gray or brown tones of clay or rocky ground Walls on the other hand should have color like flowering shrubs and trees and everything that rises above the solid earth And finally the ceiling should be light and airy in tones of white or delicate shades of pink and blue like the sky over our heads It would give a feeling of insecurity he claims to walk on pink or blue floors and we would feel the ceiling as a heavy load weighing us down if it were painted a dark color As I sit reading his rather theoretical explanation I raise my eyes from the book and gaze about the room The floor is covered with a Chinese rug in lovely indigo blue on which I walk every day without the slightest feeling of insecurity Amazing eye opening book Author describes high level concepts in architecture form void light sound and does that in a very accessible way that even art resistant engineer can understand Book contains many photos illustrating mentioned "concepts My absolute favourite is the first chapter about form the idea "My absolute favourite is the first chapter about form the idea little children learn to understand materials as hard or soft heavy or light and apply this nowledge in later life to architectural objects I also liked the chapters on light and sound Some chapters were less obvious to me especially the one about contrast of empty volumes and blocks Nevertheless I consider this book a very good intro to understanding architecture I have read about two dozen books on architecture this is the most helpful by far Daylight in Architecture ch VIII not only explains light and buildings but explains Vermeer s use of light in his paintings a double bonus Hearing Architecture ch X is a brilliant introduction to buildings and sound with another bonus the effect of architecture on church music specifically how building styles led to the change from monodony to polyphony eg chant to fugue The rest of the book is just as enlightening I read it because Witold Rubczynski said that it was the single most influentialhelpful he had read and I find his books illuminating eg Home How Architecture Works The Perfect House all of which I recommend as well Rasmussen however stands atop the hea. Inary people are doomed to live in and gaze upon are on the whole without uality We cannot however go back to the old method of personally supervised handicrafts We must strive to advance by arousing interest in and understanding of the work the architect does The basis of competent professionalism is a sympathetic and nowledgeable group of amateurs of non professional art lover.
Steen Eiler Rasmussen ☆ 6 Read.
Nderstanding architecture therefore is not the same as being able to determine the style of a building by certain external features It is "not enough to see architecture you must experience it You must observe how it was " enough to see architecture you must experience it You must observe how it was for a special purpose and how it was attuned to the entire concept and rhythm of a specific era YOU MUST DWELL IN THE ROOMS FEEL HOW THEY must dwell in the rooms feel how they about you observe how you are naturally led from one to the other You must be aware of the textural effects discover why just those colors were used how the choice depended on the orientation of the rooms in relation to windows and the sunHere you have all the advantages of a deliberately plannedview because you see reality as through a telescope from a fixed point and nothing interferes to distract your attention The view has only one direction and what is behind the observer plays no part in it But this is a rare exception Ordinarily we do not see a picture of a thing but receive an impression of the thing itself of the entire form including the sides we cannot see and of all the space surrounding it Just as in the example of the girl in jeans the impression received is only a general one usually we do not see any details Rarely can a person who has seen a building give a detailed description of it I did enjoy this little volume and will be content to have it sit among the other books on architecture on my shelves but almost for the crisp yet creamy black and white photos of walnut chairs teacups bricks for the silken sheen of the paper they have been printed on and for the lovely library smell of the book than for the text itself which in a number of ways has not stood the test of time as well as one might have wished There is much contrasting of the civilized people of Europe with primitive peoples and cultures elsewhere much exclusive use of he not just for architects architecture no doubt having been a uniformly male arena in the late 1950s but indeed for humans of any description and much expositing on what one naturally or automatically thinks or likes or feels That being said this classic is obviously far from being without value even as a text The central tenet which is that architecture is primarily something to be experienced by and with the body and its senses and not something to be coldly and formally analysed and criticized is one I heartily agree with If used as a class text or in serious private study it can benefit from being read together with Susan Sontag s excellent little essay Against Interpretation It can also be paired with Juhani Pallasmaa s eually concise and beautiful volume The Eyes of the Skin and Peter Zumthor s wonderful Atmospheres both of which owe an acknowledged debt to Rasmussen s book I would give this 35 stars if I could This is the first book I have read on architecture and it has introduced me to a number of exciting ideas such as the effects of acoustics in architecture and use of light and color The author writes in a casual style which makes it very easy to follow along but also means he makes several unsupported claims it is a well nown fact that seeing riding boots produces a sense of honor and royalty in the viewer and that tennis rackets produce feelings of vitality The numerous jabs at primitive people also made me cringe a bit Overall this was a good introduction I never thought much about architecture in the past and now wonder why I was recommended Experiencing Architecture by an architect and I was hesitant to grab it because of my lack of nowledge on the field I can now say that this book is an essential for art lovers and you will understand why shortly after having started reading the preface It is possible to get as much pleasure from architecture as the nature lover does from plants The book elaborates on this idea by giving mind blowing examples from our daily lives and drawing comparing analogies with activities and elements we can. Designing excellenceAt one time writes Rasmussen the entire community tool part in forming the dwellings and implements they used The individual was in fruitful contact with these things; the anonymous houses were built with a natural feeling for place materials and use and the result was a remarkably suitable comeliness Today in our highly civilized society the houses which ord.