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.
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
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
During this formative time, she developed the roots of what one historian has called her “ecosocial” interpretation of the built environment, which considered architecture and the built environment to be an extension and manifestation of human ecology.5 This preference for the social led her to elevate Buckminster Fuller’s ecological utopianism... See more