P”ofusely illustrated with fineinstances of architectural expeuimentation through the centuries,EXPERIENCING ARCHITECTURE man

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The Classic and Gothic revivals of the late eighteenth and early 235nineteenth centuries led inevitably to eclecticism in architecturein which creative design gave way to the accurate copying ofdetails. Much that had been gained during the past centuries wasfirst ignored and then forgotten. There was no longer any personalconception behind the rooms the architect planned and thereforehe gave as little thought to their acoustic function and acousticaleffect as to the texture of the materials he used. The exteriors ofnew churches were correct copies of Classic or Gothic prototypesbut the interiors were not designed for definite types of oratory ormusic. In new theaters the flat ceilings of earlier days were discarded for slightly domed ceilings which produced acoustical conditions the architects could not master. Indifference to texturaleffects led to indifference to sound absorption. Even concerthalls were designed quite casually, but as the programs theyoffered included every kind of music, with no regard for theirspecial acoustical requirements, this was less important than itmight have been. The height of confusion in this sense, however,came with the modern “talkies,” in which you could see and hearthe wide open prairie thundering under the hooves of gallopinghorses and at the same time listen to a symphonic orchestra playing romantic music a Ia Tschaikowsky—every possible banaleffect served up in the same picture. An oft-quoted saying of the Danish sculptor Thorvaldsen is that clay is life, plaster death, and marble resurrection. We are seldom aware of how much we can hear. We receive atotal impression of the thing we are looking at and give no thoughtto the various senses that have contributed to that impression. Forinstance, when we say of a room that it is cold and formal, weseldom mean that the temperature in it is low. The reaction probSomething else I love about this book is that often especially in the first generation of modernist architects Modernism is shown as a heroic break with the past. It often was but by describing buildings in terms of their effect on you Rasmussen can look past the style of the buildings to their underlying principles and place them in a natural continuam. Palladio and Corbusier are compared and assessed based on the same basic underlying concepts this takes the heat out of the style wars and allows for better comparison and appreciation of buildings that have different styles but similar underlying principles. Summary great edifice into a musical experience. Such, for instance, are theGregorian chants which were especially composed for the oldbasilica of S. Peter in Rome. Sigrid de Jong (Leiden University): Experiencing and Teaching: Dialogues of Movement and Time at the Royal Academy Lively, without ever becoming condescending .~. learned withoutever becoming dull. A book of great charm and broad understanding.”—Architectural Fo,’urn

Rasmussen Steen Eiler Experiencing Architecture 1962.pdf File:Rasmussen Steen Eiler Experiencing Architecture 1962.pdf

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'. speaking voice. If it were powerful enough to be heard throughoutthe church, each syllable would reverberate for so long that anoverlapping of whole words would occur and the sermon wouldbecome a confused and meaningless jumble. It therefore becamenecessary to employ a more rhythmic manner of speaking, to Kenzo Tange for instance is already quite well into his career. Post War Japanese Modernism makes a pretty strong case for itself. Doges palace decoration can be understood in the same way if the marble is understood more as a sheet of material. There is defended an origin story about Swedish red that it became associated with grander houses but the truth might at least be partly more mundane - it is a waste product of an early industrial process. (Think Falu red)But details tell nothing essential about architecture, simply because the object of all good architecture is to create integrated wholes. The only result of trying to judge architecture as you would aschool paper A for that building, B for that one, etc.—is to spoilthe pleasure architecture gives. It is a risky business. It is quiteimpossible to set up absolute rules and criteria for evaluatingarchitecture because every worthwhile building—like all works ofart— has its own standard. If we contemplate it in a carping spirit,with a know-it-all attitude, it will shut itself up and have nothingto say to us. But if we ourselves are open to impressions and sympathetically inclined, it will open up and reveal its true essence. Imrie, R. Architects’ Conceptions of the Human Body. Environ. Plan. D Soc. Space 2003, 21, 47–65. [ Google Scholar] [ CrossRef]

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Tuan, Y. Space and Place: The Perspective of Experience; University of Minnesota Press: Minneapolis, MI, USA, 1977. [ Google Scholar] Steen Eiler Rasmussen was born on 19 February 1898 in Copenhagen to Lieutenant colonel and later general Christian Rasmussen and Anna Dorthea (Dori) Jung. He first apprenticed as a mason and then studied architecture at the Royal Danish Academy of Fine Arts from 1916 to 1918. In 1919 he set up his own practice. [1] Architecture and urban planning [ edit ] This paper reflects on the ways in which artists enquire into architecture - the questions they ask, the methods they employ and the discoveries they make about a building. The discussion is focussed on Christine Finn’s multi-part project Leave, Home, Stay, in Deal, Kent (2007-2013). idea the word conveys, we generally are not aware of what it is that we perceive but only of the conception created in our minds when we perceive it"Zumthor, P. Atmospheres: Architectural Environments, Surrounding Objects; Birkhäuser: Basel, Switzerland, 2006. [ Google Scholar]