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By Steen Eiler Rasmussen - Experiencing Architecture (2nd Edition) (1962-12-16) [Hardcover]
Profusely illustrated with fine instances of architectural experimentation through the centuries, Experiencing Architecture manages to convey the intellectual excitement of superb design. From teacups, riding boots, golf balls, and underwater sculpture to the villas of Palladio and the fish-feeding pavilion of the Peking Winter Palace, the author ranges over the less-familiar byways of designing excellence.At 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 ordinary people are doomed to live in and gaze upon are on the whole without quality. 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 knowledgeable group of amateurs, of non-professional art lovers."
Unknown Binding
First published January 1, 1959
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About the author
Steen Eiler Rasmussen
55 books18 followersSteen Eiler Rasmussen, Hon. FAIA (9 January 1898 – 19 June 1990) was a Danish architect and urban planner who was a professor at the Royal Danish Academy of Fine Arts, and a prolific writer of books and poetry. He was made a Royal Designer for Industry by the British Royal Society of Arts in 1947.
Early life and education
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
It was mainly as an urban planner that he made his name. He was part of the Danish Urban Planning Laboratory from 1924, as the Academy Council's representative, and its leader from 1942 to 1948. From 1932 to 1938 he worked at Copenhagen Municipality's Department for Urban Planning.
Through his involvement in the Urban Planning Laboratory, he was an important part of the process which led to the Finger Plan which has governed the overall development of suburban Copenhagen ever since. He also co-planned the area Tingbjerg town (yellow brickstone and greens) with C.Th. Sørensen in Copenhagen North West, as well as the town Hørsholm.
Among the buildings he has designed are Ringsted Town Hall, Mødrehjælpen (a social institution for women) in Copenhagen Ø and his own house in Rungsted Kyst Hørsholm, north of Copenhagen(1938).
Academia
Rasmussen was a lecturer at the Academy from 1924 and became a professor in 1936. Among his students were Jørn Utzon, designer of the Sydney Opera House, and Marian Pepler who designed rugs for Gordon Russell in the 1930s .
Writings
One of Rasmussen's most influential books was Experiencing Architecture, first published in Danish in 1957 and in English in 1959. Underlining the importance of a first-person, embodied experience of architecture - including its shape, color, scale, proportion, rhythm, textural effects, daylight and sound - the book may be regarded as a classic in architectural phenomenology.
Another important book was London. It was first published in Danish in 1934, in English (as London, the Unique City) in 1937. When this edition was re-issued in 1948, Rasmussen had added two Postscripts: "For English readers only", and "For American readers only". A shorter version was published as a paperback in 1960.
Other influential books by Rasmussen include Towns and Buildings (1951) and København (1969).
Among his many friends was Edmund N. Bacon.[citation needed]
Early life and education
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
It was mainly as an urban planner that he made his name. He was part of the Danish Urban Planning Laboratory from 1924, as the Academy Council's representative, and its leader from 1942 to 1948. From 1932 to 1938 he worked at Copenhagen Municipality's Department for Urban Planning.
Through his involvement in the Urban Planning Laboratory, he was an important part of the process which led to the Finger Plan which has governed the overall development of suburban Copenhagen ever since. He also co-planned the area Tingbjerg town (yellow brickstone and greens) with C.Th. Sørensen in Copenhagen North West, as well as the town Hørsholm.
Among the buildings he has designed are Ringsted Town Hall, Mødrehjælpen (a social institution for women) in Copenhagen Ø and his own house in Rungsted Kyst Hørsholm, north of Copenhagen(1938).
Academia
Rasmussen was a lecturer at the Academy from 1924 and became a professor in 1936. Among his students were Jørn Utzon, designer of the Sydney Opera House, and Marian Pepler who designed rugs for Gordon Russell in the 1930s .
Writings
One of Rasmussen's most influential books was Experiencing Architecture, first published in Danish in 1957 and in English in 1959. Underlining the importance of a first-person, embodied experience of architecture - including its shape, color, scale, proportion, rhythm, textural effects, daylight and sound - the book may be regarded as a classic in architectural phenomenology.
Another important book was London. It was first published in Danish in 1934, in English (as London, the Unique City) in 1937. When this edition was re-issued in 1948, Rasmussen had added two Postscripts: "For English readers only", and "For American readers only". A shorter version was published as a paperback in 1960.
Other influential books by Rasmussen include Towns and Buildings (1951) and København (1969).
Among his many friends was Edmund N. Bacon.[citation needed]
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Displaying 1 - 30 of 98 reviews
December 11, 2021
Getting older, 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 in a proper way. 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.
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.
March 19, 2014
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 (e.g., 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 influential(?)/helpful(?) he had read, and I find his books illuminating (e.g., "Home", "How Architecture Works", "The Perfect House"--all of which I recommend as well). Rasmussen, however, stands atop the heap.
October 26, 2018
"Form can also give an impression of heaviness or lightness. A wall built of large stones, which we realize must have required great effort to bring to the site and put in place, appears heavy to us. A smooth wall seems light, even though it may have necessitated much harder work and actually weigh more than the stone wall. We intuitively feel that granite walls are heavier than brick ones without having any idea of their respective weights."
"There are monumental structures of the greatest simplicity which produce only a single effect, such as hardness or softness. But most buildings consist of a combination of hard and soft, light and heavy, taut and slack, and of many kinds of surfaces. These are all elements of architecture, some of the things the architect can call into play. And to experience architecture, you must be aware of all of these elements."
" Just as we do not notice the individual letters in a word but receive a total impression of the
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"
"Understanding 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 designed 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 close 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 sun."
"Here you have all the advantages of a deliberately planned
view 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."
"There are monumental structures of the greatest simplicity which produce only a single effect, such as hardness or softness. But most buildings consist of a combination of hard and soft, light and heavy, taut and slack, and of many kinds of surfaces. These are all elements of architecture, some of the things the architect can call into play. And to experience architecture, you must be aware of all of these elements."
" Just as we do not notice the individual letters in a word but receive a total impression of the
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"
"Understanding 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 designed 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 close 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 sun."
"Here you have all the advantages of a deliberately planned
view 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."
June 9, 2019
Bu kitabı kesinlikle okumalısınız: https://youtu.be/6Rj5biqp83M
Mimarlıktaki doku, renk, ritm ve tasarım kuralları konularında pek bilinmeyen detayları öğrenmek için kesinlikle okunması gereken bir kitap.
Mimarlıktaki doku, renk, ritm ve tasarım kuralları konularında pek bilinmeyen detayları öğrenmek için kesinlikle okunması gereken bir kitap.
August 12, 2020
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 knowledge 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 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 acquire souls in some demoniacal way corresponding to the souls of the inhabitants.”
The author indirectly touches upon literature quite 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 in 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 quote 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 them, must be determined by the way we will live in them and move through them.”
“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 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 acquire souls in some demoniacal way corresponding to the souls of the inhabitants.”
The author indirectly touches upon literature quite 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 in 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 quote 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 them, must be determined by the way we will live in them and move through them.”
Read
February 1, 2024homework tak
June 2, 2024
en god oppsummering av alt vi har lært det siste året!
April 7, 2025
mi też się mokro robi, jak myślę o rytmie schodów hiszpańskich
August 6, 2012
I was given this book for my first design class, we were supposed to write an essay of our thoughts about the book and if it changed our way to experience architecture, or the lack thereof. We had several projects going on, and competitions as well, that my professor lost focus on the book and dismissed the paper. Which I think was a shame because I could have learned so much from it.
After four semesters (2 years) I decided to pick it up again since I saw it lying in the bottom of my drawer and read it. It was new and a sort of philosophical way to look at architecture. Buildings were no longer monuments that marked this person existence in Earth. Buildings had life and function and we can experience them through our senses. Very poetic, in my opinion.
Going back to my little story about not reading the book during my first semester in Architecture. Yeah, it was a shame. I was focused on the functional and engineering part of Architecture that I totally forgot the more philosophical and social duty attached to a building, be it a house, a hospital, or a museum. All of these buildings have different colors, textures, sounds, light, etc. that allows the visitors and inhabitants to experience differently.
Say, most people are able to discern between the lighting of a museum and that of a church. Or could also discern between a stadium and an opera house by the sound each building type allows.
Useful book. Recommended to all beginning Architecture students. Architecture is a very dynamic and encompassing field. You learn a little bit of everything.
After four semesters (2 years) I decided to pick it up again since I saw it lying in the bottom of my drawer and read it. It was new and a sort of philosophical way to look at architecture. Buildings were no longer monuments that marked this person existence in Earth. Buildings had life and function and we can experience them through our senses. Very poetic, in my opinion.
Going back to my little story about not reading the book during my first semester in Architecture. Yeah, it was a shame. I was focused on the functional and engineering part of Architecture that I totally forgot the more philosophical and social duty attached to a building, be it a house, a hospital, or a museum. All of these buildings have different colors, textures, sounds, light, etc. that allows the visitors and inhabitants to experience differently.
Say, most people are able to discern between the lighting of a museum and that of a church. Or could also discern between a stadium and an opera house by the sound each building type allows.
Useful book. Recommended to all beginning Architecture students. Architecture is a very dynamic and encompassing field. You learn a little bit of everything.
November 4, 2021
Kitabın amacı güzel. Herkesin anlayabileceği bir dille mimari çalışmaları anlatmak. Ama örnekler hep Batı'da kalmış. Kısa bir Japon kesiti hariç. Bu biraz beni sıktı.
Lisans hayatımın ilk yılında okduğumda sevmiştim kitabı. İlgi çekici gelmişti. Şimdi okuyunca biraz sıkıldım. Ama bu tamamiyle benden kaynaklı. Çünkü zaten okulda bu kitapta anlatılanları bir milyon defa konuştuğumuz ve dinlediğim için sıkıcı geldi. Yoksa kitap güzel. Bakış açısını sevdim yazarın. Mimariyi farklı noktalarından bakarak incelemiş. Kütleler, boşluklar, ölçek, gün ışığı, renk, ses...
Kaynak kitap olabilecek nitelikte. Çok fazla örnek var kitapta mimarlıkla ilgili. Görsellerinin de olması anlaşılırlığı arttırıyor. Mimarlıkla ilgisi olmayan biri de gayet rahat anlayabilir kitabı.
Bir de son olarak kitap 1962 yılında basılmış. Bu sebepten kitaptaki örnekler biraz eski kalıyor artık. Yeni bir bakış açısı ile benzer bir çalışma yapılsa çok daha değişik bir kitap ortaya çıkar diye düşünüyorum.
Lisans hayatımın ilk yılında okduğumda sevmiştim kitabı. İlgi çekici gelmişti. Şimdi okuyunca biraz sıkıldım. Ama bu tamamiyle benden kaynaklı. Çünkü zaten okulda bu kitapta anlatılanları bir milyon defa konuştuğumuz ve dinlediğim için sıkıcı geldi. Yoksa kitap güzel. Bakış açısını sevdim yazarın. Mimariyi farklı noktalarından bakarak incelemiş. Kütleler, boşluklar, ölçek, gün ışığı, renk, ses...
Kaynak kitap olabilecek nitelikte. Çok fazla örnek var kitapta mimarlıkla ilgili. Görsellerinin de olması anlaşılırlığı arttırıyor. Mimarlıkla ilgisi olmayan biri de gayet rahat anlayabilir kitabı.
Bir de son olarak kitap 1962 yılında basılmış. Bu sebepten kitaptaki örnekler biraz eski kalıyor artık. Yeni bir bakış açısı ile benzer bir çalışma yapılsa çok daha değişik bir kitap ortaya çıkar diye düşünüyorum.
October 28, 2020
Grounded exploration of architecture’s (and really much of art and design’s) fundamental principals — insofar as those principles are grounded on, as the title suggests, our experience of architecture. In many ways the writing is a phenomenology of space, form, texture.
I had the thought reading through that the poet and the architect seem to share a common element to their work: to give the world a human shape (in Blake’s words); to make the world habitable.
This book is concerned with these ‘poetic’ values of space and the meaning of our occupation of it. It tries its best not to be classist and snobby (though wavers at some points) and ultimately succeeds at giving articulation to architecture that resonates with the Everyman — or at least the Everyman who sees.
I had the thought reading through that the poet and the architect seem to share a common element to their work: to give the world a human shape (in Blake’s words); to make the world habitable.
This book is concerned with these ‘poetic’ values of space and the meaning of our occupation of it. It tries its best not to be classist and snobby (though wavers at some points) and ultimately succeeds at giving articulation to architecture that resonates with the Everyman — or at least the Everyman who sees.
May 16, 2012
I would give this 3.5 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 known 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.
December 28, 2018
Amazing introduction to architecture. Full of light and compassion. Very inspiring.
December 22, 2021
Not impressed. Well, impressed partly by architects' ability to pull the stuff out of their asses. Also, language is strange for 2020.
February 20, 2021
This book really changes the way you look at the buildings and how you perceive light, sound, texture inside. You will also end up planning trips to Rome, Venice, Copenhagen and few other places.
February 22, 2024
This book is really meant to be read in 2 weeks at most, to get the most out of it.
It’s an informative read into the mind of architects. As someone who generally thinks more in terms of utility, it was pretty surprising how much of an art architecture is. I’m not sure why I was so surprised. I suppose I expected there to be more logic as to why architects design the way they do, even beautiful or “unnecessary” things.
Architecture, in Rasmussen’s eyes, is much more about feel than rationale, though it makes sense when understanding the framework that is best for “experiencing” architecture as Rasmussen repeats throughout the book. It’s mostly intuitive when observing architecture through Rasmussen’s framework.
That isn’t to say there are some lulls. Chapter 7 felt particularly long, as I felt Rasmussen was showing countless examples before actually making his point. Still, I got a lot out of the book and it’s very accessible for novices in architecture. I’d recommend it with the caveat that it may be more artsy in nature than expected.
It’s an informative read into the mind of architects. As someone who generally thinks more in terms of utility, it was pretty surprising how much of an art architecture is. I’m not sure why I was so surprised. I suppose I expected there to be more logic as to why architects design the way they do, even beautiful or “unnecessary” things.
Architecture, in Rasmussen’s eyes, is much more about feel than rationale, though it makes sense when understanding the framework that is best for “experiencing” architecture as Rasmussen repeats throughout the book. It’s mostly intuitive when observing architecture through Rasmussen’s framework.
That isn’t to say there are some lulls. Chapter 7 felt particularly long, as I felt Rasmussen was showing countless examples before actually making his point. Still, I got a lot out of the book and it’s very accessible for novices in architecture. I’d recommend it with the caveat that it may be more artsy in nature than expected.
June 7, 2025
This book is able to cover a lot of ground in a short page count, mostly due to the excellent selection of examples and figures.
I especially enjoyed the author's discussion of 'solids and cavities' as opposed to the more common 'form and space'. Chapter 7 on textural effects was great—especially the introduction—and the eighth chapter's look at daylight in architecture as it relates to Vermeer's paintings is just wonderful, and could stand as a brilliant essay on its own.
—
A quote from the final chapter, 'Hearing Architecture':
You can both see and hear if a building has character, or what I like to call 'poise'. But the man has not yet been found who can pass judgement, logically substantiated, on a building's architectural value. The only result of trying to judge architecture as you would a school paper—A for that building, B for that one, etc.—is to spoil the pleasure architecture gives. It's a risky business.
I especially enjoyed the author's discussion of 'solids and cavities' as opposed to the more common 'form and space'. Chapter 7 on textural effects was great—especially the introduction—and the eighth chapter's look at daylight in architecture as it relates to Vermeer's paintings is just wonderful, and could stand as a brilliant essay on its own.
—
A quote from the final chapter, 'Hearing Architecture':
You can both see and hear if a building has character, or what I like to call 'poise'. But the man has not yet been found who can pass judgement, logically substantiated, on a building's architectural value. The only result of trying to judge architecture as you would a school paper—A for that building, B for that one, etc.—is to spoil the pleasure architecture gives. It's a risky business.
January 19, 2024
“Can architecture be heard? Most people would probably say that as architecture does not produce sound, it cannot be heard. But neither does it radiate light and yet it can be seen.”
This quote pretty much sums up this book. You have to really want to read it to get enjoyment out of it, but if you are into art it is a great way to broaden your scope of understanding and appreciating every form of artistic expression. Now, if you will excuse me I am going to go design the floor plan for my Venetian villa.
This quote pretty much sums up this book. You have to really want to read it to get enjoyment out of it, but if you are into art it is a great way to broaden your scope of understanding and appreciating every form of artistic expression. Now, if you will excuse me I am going to go design the floor plan for my Venetian villa.
April 6, 2024
This is a book for someone who adores art and history. It took me more than 3 months to finish this book majorly because of the vast amount of historical references (hehe). However, my favourite chapter of the book was ‘Rhythm in Architecture’ out of all the examples that the author highlighted I liked this one more.
I also loved the way the author ended the book. If you’re into architecture you should try reading it once.
I also loved the way the author ended the book. If you’re into architecture you should try reading it once.
January 24, 2019
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 that little children learn to understand materials as hard or soft, heavy or light, and apply this knowledge 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.
My absolute favourite is the first chapter about form - the idea that little children learn to understand materials as hard or soft, heavy or light, and apply this knowledge 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.
August 25, 2019
"Karanlık bir gecese yakılan kamp ateşi, çevresi karanlığın duvarlarıyla çevrili bir ışıktan bir mağara oluşturur." s.211
September 13, 2022
The chapter on daylight was my favorite
August 3, 2023
3.5🌟
Bardziej dla kogoś kto dopiero wchodzi w temat czym jest architektura niż dla osoby która już trochę siedzi w temacie. Dobra na start
Bardziej dla kogoś kto dopiero wchodzi w temat czym jest architektura niż dla osoby która już trochę siedzi w temacie. Dobra na start
November 10, 2021
very clear, convincing account of what is actually good about good architecture. Some old fashioned prejudice that you wouldn't hear now ("primitive peoples" etc), but a warm, friendly tone that's very endearing.
March 5, 2018
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 more 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 equally 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.
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 equally 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.
September 13, 2020
Quite interesting look at how we experience architecture (as it says on the tin). Combines theory and history in a useful way; I thought the chapter on solids and cavities as they predominated in the Gothic and the Renaissance respectively was a very cogent and engaging take on a subject that can sometimes come across as dull or unnecessarily abstract. Likewise, there was good stuff about textural effects, daylight, and rhythm. A couple of the chapters weren't as compelling (I've never found persuasive the argument that we have an intuitive appreciation for the harmony of simple geometric ratios in architecture), and I felt that the chapter on color got short shrift, but overall this was a good, readable introduction to some significant architectural concepts.
September 24, 2022
so boring. i could not get myself to read this and i hated every minute of it. i did not in fact want to experience architecture that bad. the author tried i’ll give him that. i had SOME interest at the beginning but that all went out the window about four chapters in. hope i never have to touch this book again
March 1, 2014
I took Deaf Studies: Deaf Spaces. This was applied to this book and helped us to understand how the architecture works. It applied to our project for Deaf Space course. Teacher's concepts and the book guided our ideas to remodel early 1900's houses on row at Gally University.
February 16, 2015
Mimarlikla ilgili hicbir sey bilmiyorum o yuzden bu kitap bana zor geldi. Yorumlarda aksini soylese de konuya yabanci olanlar icin okumasi o kadar kolay degil. Son zamanlarda populer bilim konulari cok iyi kaleme aliniyor, tabii bu kitap eski oldugu icin o anlatimi bulamadim.
March 2, 2010
نستشعر العمارة والامكان من خلال حواسنا الخمس:المكان له صوت، يتأثر بالاضاءة النهارية، بحاسة اللمس وغيره.
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