Architecture
Building design, aesthetics, and engineering.
Zachary Roush and
Architecture
HarvardX GSD1xThe Architectural Imagination
Lecture 1.1 Aesthetic Perception
Transcript:
K. MICHAEL HAYS: I'm in Gund Hall, which is the home of the Graduate School of Design. And I'm in the studio space, which is where the most intense activity takes place of design, of analysis and research, of imagination. We'll speak about the
architectural
Fallingwater House by Frank Lloyd Wright
But I also love the way that buildings are — they’re these huge structures that we have accepted as the places we go in to get what we need, or to sleep, or to work, or whatever. They’re also these huge towering structures. I think of them as if they’re creatures; they’re other kinds of beings. Sometimes we don’t even touch them. I’m interested in... See more
Drew Zeiba • CITY WRITER: Interview with Visual Poet Renee Gladman
Renee Gladman
Two Hundred Fifty Things an Architect Should Know — R / D
readingdesign.orgWhat keeps you returning to architecture?
I’ve talked about architecture for a long time. I feel like it emerged out of questions I used to have — or answers I used to find — in the city. I used to want to write about the city all the time and a lot of my books take place in cities. Then I used to talk about the sentence as a city, as a space to... See more
I’ve talked about architecture for a long time. I feel like it emerged out of questions I used to have — or answers I used to find — in the city. I used to want to write about the city all the time and a lot of my books take place in cities. Then I used to talk about the sentence as a city, as a space to... See more
Drew Zeiba • CITY WRITER: Interview with Visual Poet Renee Gladman
Plantea Estudio
planteaestudio.com
Studio behind some of my favorite spaces in Madrid.
Kanye West Presents Donda 2021 (Live Chicago)
youtube.comJohn Pawson - Wooden Chapel
johnpawson.com
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.