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A classic examination of superb design through the centuries. Widely regarded as a classic in the field, Experiencing Architecture explores the history and promise of good design. Generously illustrated with historical examples of designing excellence --ranging from teacups, riding boots, and golf balls to the villas of Palladio and the fish-feeding pavilion of Beijing's Winter Palace--Rasmussen's accessible guide invites us to appreciate architecture not only as a profession, but as an art that shapes everyday experience. In the past, Rasmussen argues, architecture was not just an individual pursuit, but a community undertaking. Dwellings were built with a natural feeling for place, materials and use, resulting in "a remarkably suitable comeliness." While we cannot return to a former age, Rasmussen notes, we can still design spaces that are beautiful and useful by seeking to understand architecture as an art form that must be experienced. An understanding of good design comes not only from one's professional experience of architecture as an abstract, individual pursuit, but also from one's shared, everyday experience of architecture in real time--its particular use of light, color, shape, scale, texture, rhythm and sound. Experiencing Architecture reminds us of what good architectural design has accomplished over time, what it can accomplish still, and why it is worth pursuing. Wide-ranging and approachable, it is for anyone who has ever wondered "what instrument the architect plays on."… (meer)
I don't really have a bucket list but delving into the native language of architecture is definitely something that would be on it. I especially find modern architecture challenging and enticing. Unfortunately, I do not (yet) have the knowledge and especially the analytical tools to ‘read’ architecture. This booklet has the merit of providing a key. It is what is called a classic, published in 1959 and long used in architecture schools. To today's reader, the writing style certainly seems old-fashioned, and its age (now over 60 years) and its many references to antique, Renaissance and Baroque buildings in Italy makes it no doubt dated. But the booklet compensates for that with that reading key, which – I think – is still valid. Rasmussen puts it concisely: “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 them, must be determined by the way we will live in them and move through them.” In other words: architecture must first and foremost be 'lived' and 'experienced'. The author therefore offers a kind of phenomenology of the way we experience spatial structures, with aspects such as hard and soft surfaces, concave and convex shapes, light incidence, the role of color and even sound in architecture. The chapter on 'rhythm' particularly appealed to me: indeed, the shape of a building, the distribution of the windows or rooms exude a rhythm that appeals, through their regularity or precisely because of their disruptive asymmetry. For instance, I was not aware at all that the design of the Spanish Steps in Rome (early 18th century) was based on the movements and rhythm of the polonaise. Not everything in this book appeals anymore (the quality of the photographs is really substandard nowadays), and as said its references are undoubtedly outdated, but Rasmussen has set me on the road to enjoy the architectural language (even) more. ( )
A classic examination of superb design through the centuries. Widely regarded as a classic in the field, Experiencing Architecture explores the history and promise of good design. Generously illustrated with historical examples of designing excellence --ranging from teacups, riding boots, and golf balls to the villas of Palladio and the fish-feeding pavilion of Beijing's Winter Palace--Rasmussen's accessible guide invites us to appreciate architecture not only as a profession, but as an art that shapes everyday experience. In the past, Rasmussen argues, architecture was not just an individual pursuit, but a community undertaking. Dwellings were built with a natural feeling for place, materials and use, resulting in "a remarkably suitable comeliness." While we cannot return to a former age, Rasmussen notes, we can still design spaces that are beautiful and useful by seeking to understand architecture as an art form that must be experienced. An understanding of good design comes not only from one's professional experience of architecture as an abstract, individual pursuit, but also from one's shared, everyday experience of architecture in real time--its particular use of light, color, shape, scale, texture, rhythm and sound. Experiencing Architecture reminds us of what good architectural design has accomplished over time, what it can accomplish still, and why it is worth pursuing. Wide-ranging and approachable, it is for anyone who has ever wondered "what instrument the architect plays on."
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But the booklet compensates for that with that reading key, which – I think – is still valid. Rasmussen puts it concisely: “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 them, must be determined by the way we will live in them and move through them.” In other words: architecture must first and foremost be 'lived' and 'experienced'.
The author therefore offers a kind of phenomenology of the way we experience spatial structures, with aspects such as hard and soft surfaces, concave and convex shapes, light incidence, the role of color and even sound in architecture. The chapter on 'rhythm' particularly appealed to me: indeed, the shape of a building, the distribution of the windows or rooms exude a rhythm that appeals, through their regularity or precisely because of their disruptive asymmetry. For instance, I was not aware at all that the design of the Spanish Steps in Rome (early 18th century) was based on the movements and rhythm of the polonaise. Not everything in this book appeals anymore (the quality of the photographs is really substandard nowadays), and as said its references are undoubtedly outdated, but Rasmussen has set me on the road to enjoy the architectural language (even) more. (