A small path leads to the chapel’s entrance, located at the transitional point between woodland and open ground. The architecture is framed as the simplest of gestures. From certain perspectives its mass appears as a pile of logs stacked up to dry; from others the considered placement of the elements on a concrete plinth creates a more formal impression of a piece of sculpture emerging from the forest. The purposefully narrow entry maintains the sense of physical proximity encountered as one moves through the dense trees, adding visceral and visual theatre to the exhilarating experience of passing into an attenuated space over seven metres high and nearly nine metres long.
In Residence Ep 15: “Ricardo Bofill” by Albert Moya
Look for the architecture beneath, listen for it in a piece of music, sense it in a piece of poetry, feel it a dance, see it in a painting, contemplate it in the cosmological, observe it in your own perceptual faculties.
I find an interesting parallel here to the ideas James Scott proposes in Seeing Like a State (which we covered back in RE #4): a top-down, central planning-style of design can't effectively predict the diversity of user needs. It turns out, contra to the "expert architect", that the users know best what they need from their space. And often even... See more