Homework review: Experiencing Architecture, solids and cavities

“Seeing” comes through as a two-sided process of picture forming and detailed observation, according to Rasmussen in his “Experiencing Architecture” book. Such a method resembles the principles of re-creation, especially when compared with painting, thus the spectator is not just taking the role of an observer but rather daring to interpret susceptibly. Of course when it comes to subjective observation people are more inclined to the familiar and comprehensible information, in this case expressed visually. Rasmussen compares this phenomenon to the activity of an actor on stage positioning himself closer to the role he is playing. He believes the same reaction can be witnessed with people trying to identify and relate to the piece of art they are observing or even to a commercial good.

Architecture has its own way of making use of these visual observatory characteristics. The Classical architecture for instance is often associated with supporting and supported members, giving the impression of a heavy burden weighing down the column. The same personification rules have been applied to other domestic forms such as chairs, doors, automobiles etc.  

Dickens has proven to have use this method in analyzing the spirit behind every house standing on a street. However, when it comes to extremely geometrically regular neighborhoods even Dickens fails make such an interpretation, admitting to seeing shapes and no personalities. Nonetheless, shapes which manage to create a vivid illusion of space through repetition of elements which are familiar to the eye.

The argument moves on the contrast between a picture and a real life visit to the place, where you are no more inclined to view the building from a certain angle but may now move around and sense the atmosphere around it. Rasmussen adds that there are also streets and plazas which are laid out deliberately to be viewed from a specific position.

Returning to the detailed observation, it is explained that the eye takes a one by one approach to a building’s elements almost mimicking the way an architects brain works when dealing with construction. The Gothic architecture for example is a perfect case of how the structural development is so important in itself, the architect might even misjudge or forget how it is not an end in itself but rather a means of getting there. Instead of working with the solids of a building, the architect could further explore the cavities, empty spaces, considering the formation of such spaces as the real meaning of architecture. An illustrating example of how cavities work with backgrounds is given by Rasmussen with the black vase shape on top of a white background while more specifically he recalls the Carli cave temples in India.

A matter of explanation is also the usage of the word cavity instead of space. The author describes similar meanings of the word raum and rum in German and Danish, where the full definition includes a limited enclosed space. Since there is no equivalent word in English he has agreed to use cavity for a more defined architectural space.

The transition from Gothic to Renaissance architecture makes for the perfect case study of how sharp pointed structures changed to more established well shaped cavities. This trend can be found much later after renaissance as well, in the Copenhagen police headquarters where the structure of the building remains invisible.