Experiencing Architecture

Product Information

Though the room is small in volume, its tiled floor and walls,porcelain basin and water-filled tub, all reflect sound and reinforce certain tones so that he is stimulated by the resonance of hisvoice and imagines himself a new Caruso. Thus, interior experience represents several key issues, such as the body, materiality, culture, emotion, and memory (see Figure 6).

Experiencing Architecture: Basic Things to Understand Experiencing Architecture: Basic Things to Understand

This spatial experience can transform the space into place, emphasizing the sense of insideness within the dwelling [ 30] (p. He also emphasizes that human activities are incorporated from rational and emotional thoughts and acts [ 46] (p. From the covered carriage entrance the visitor came into amarble hall which resounded with the rattle of his sidearms andthe clatter of his high heels as he followed the major domo acrossthe stone floor and entered the door held open for him. In other words, materiality can be understood as a medium to connect with the body and the interior space. Eliasson allowed visitors to be a part of the exhibition, engaging “their senses, memory, and reflections to make his projects more profound” [ 18].It shows that bodily senses and movements provide constant dialogue with interior space due to spatial experience.

Experiencing Architecture Quotes by Steen Eiler Rasmussen Experiencing Architecture Quotes by Steen Eiler Rasmussen

This means that the body, materiality, and emotional connection offer a fundamental idea for enriching the interior experience. This shows that an interior experience of architecture can be transformed into an emotional level of experience of architecture. Over the last century, the field of architecture has focused on the functional and morphological aspects rather than on its relationship to people and its environment of interior space [ 1, 2, 3, 4].Old paintings of Dutch interiors show that heavy draperies were used as well as thin glass curtains, which softened the transition from the dark window pier to the light opening. The Chidori system provides a flexible structure and anti-object where space is delineated by light, structure, and materiality.

Architecture: An Emotional - MDPI The Interior Experience of Architecture: An Emotional - MDPI

End of 18th C Horseshoe designs for churches appeared in Copenhagen - for example Nicolas Eigtved Christianshavn Church 1754. Twenty-four layers of concrete were poured into a wooden frame surrounding the tree trunks, which were stacked in a curved conical form. Rhythm can produce different effects also- clarity, mystery, playfulness, different patterns of movement. Steen Eiler Rasmussen was born on 19 February 1898 in Copenhagen to Lieutenant colonel and later general Christian Rasmussen and Anna Dorthea (Dori) Jung.Patterned paper boards have lightly worn edges, with fraying at corners, and light soiling on backside. It is more like Rome, great and dignified as the vaulted ruins ofAntiquity or the stone corridors of the grandiose palazzos fromwhich ease and comfort were debarred. This filtering of light through lattice provides constantly changing patterns and volumes throughout the day and allows people to experience the spiritual nature of the space in various ways. People first encounter the wooden structure and experience glimpses of the interior space according to light conditions [ 60].

Architecture Competitions “THE RASMUSSEN” - Non Architecture Competitions

If the reciting noteof the priestwas close to the “sympathetic note”of the church and Hope Bagenal tells us that probably both ofthem were, then as now, somewhere near A or A flat—thesonorous Latin vowels would be carried full-toned to the entirecongregation. The Serpentine Pavilion 2011 was created by Peter Zumthor for meditation that evoked a spiritual experience (see Figure 3). All thiswood helped to create the acoustics that made possible thei~th century development of Cantata and Passion.The buildings are of the natural stone found in that area or of the wood cut down in the local forest. This may lead to the opinion that the acousticsofThorvaldsen’sMuseum are poor unless steps are taken to improve them—which is true enough when it is used for chamber music. Tuan’s idea addresses how people feel and think about space and how they form a sense of attachment to space, based upon memories or intimate experiences.