A thought-provoking consideration of how architecture, from a doorknob to a city plan, can influence human behavior How does the experience of turning a door handle, opening a door from one space into another, affect us? It is no wonder that the door, one of the most elemental architectural forms, has such metaphorical richness. But even on a purely physical human level, the cold touch of a brass handle or the swish of a sliding screen gives rise to an emotional reaction, sometimes modest, occasionally profound. This book aims to understand how these everyday acts are influenced by architectural form, a concept that is vital for all architects to grasp. It considers how specifically built elements and volumes, taken from a wide array of buildings and settings around the world, can affect our powers of decision. From hand-carved stairs in Greek villages to free-floating catwalks, from the elegant processional steps of Renaissance Italy to Frank Lloyd Wright’s masterly manipulation of form, all provide very different experiences of stepping from one level to the next, and all affect our experience of that space. Seamlessly integrating text and image, each chapter focuses on a different aspect of our daily interactions with architecture, looking at stairs, floors and paths, moving interior spaces, perception and perspective, transparency and the relationship between a building and its setting. This book is not just for architects and designers engaged in the production of space, but for all those who seek a richer understanding of their place in the built world.

A classic examination of superb design through the centuries. Widely regarded as a classic in the field, Experiencing Architecture explores the history and promise of good design. Generously illustrated with historical examples of designing excellence—ranging from teacups, riding boots, and golf balls to the villas of Palladio and the fish-feeding pavilion of Beijing's Winter Palace—Rasmussen's accessible guide invites us to appreciate architecture not only as a profession, but as an art that shapes everyday experience. In the past, Rasmussen argues, architecture was not just an individual pursuit, but a community undertaking. Dwellings were built with a natural feeling for place, materials and use, resulting in “a remarkably suitable comeliness.” While we cannot return to a former age, Rasmussen notes, we can still design spaces that are beautiful and useful by seeking to understand architecture as an art form that must be experienced. An understanding of good design comes not only from one's professional experience of architecture as an abstract, individual pursuit, but also from one's shared, everyday experience of architecture in real time—its particular use of light, color, shape, scale, texture, rhythm and sound. Experiencing Architecture reminds us of what good architectural design has accomplished over time, what it can accomplish still, and why it is worth pursuing. Wide-ranging and approachable, it is for anyone who has ever wondered “what instrument the architect plays on.”

This book introduces a series of design stories with provocative story lines around some of the firm's most prominent projects. Each of the stories reveals the search that is inherent in the architectural design effort to evoke the spirit of each place by noting the unique circumstances for each client and property. The stories delve into planning and design aspects that reveal how spirit of place contributes to design meaning, and how creative expression can be discovered in pragmatic problem-solving. Within the stories, we uncover comparisons to older or ancient work in Hawaii, Indonesia, Mexico, and other locales, to underscore the significance of timeless principles in creating a harmonic living environment. "Spirit" is the intangible yet significant and even experientially transformative quality behind what endears one to a place or building. This book reveals the design philosophy of de Reus Architects: searching for design innovation by embracing tradition and timelessness, while applying modern and sustainable sensibilities.

Organizations value insights from reflexive, iterative processes of designing interactive environments that reflect user experience. “I really like this definition of experience architecture, which requires that we understand ecosystems of activity, rather than simply considering single-task scenarios.”—Donald Norman (The Design of Everyday Things)

Architecture as imprint, as brand, as the new media of transformation—of places, communities, corporations, and people. In the twenty-first century, we must learn to look at cities not as skylines but as brandscapes and at buildings not as objects but as advertisements and destinations. In the experience economy, experience itself has become the product: we're no longer consuming objects but sensations, even lifestyles. In the new environment of brandscapes, buildings are not about where we work and live but who we imagine ourselves to be. In Brandscapes, Anna Klingmann looks critically at the controversial practice of branding by examining its benefits, and considering the damage it may do. Klingmann argues that architecture can use the concepts and methods of branding—not as a quick-and-easy selling tool for architects but as a strategic tool for economic and cultural transformation. Branding in architecture means the expression of identity, whether of an enterprise or a city; New York, Bilbao, and Shanghai have used architecture to enhance their images, generate economic growth, and elevate their positions in the global village. Klingmann looks at different kinds of brandscaping today, from Disneyland, Las Vegas, and Times Square—prototypes and case studies in branding—to Prada's superstar-architect-designed shopping epicenters and the banalities of Niketown. But beyond outlining the status quo, Klingmann also alerts us to the dangers of brandscapes. By favoring the creation of signature buildings over more comprehensive urban interventions and by severing their identity from the complexity of the social fabric, Klingmann argues, today's brandscapes have, in many cases, resulted in a culture of the copy. As experiences become more and more commodified, and the global landscape progressively more homogenized, it falls to architects to infuse an ever more aseptic landscape with meaningful transformations. How can architects use branding as a means to differentiate places from the inside out—and not, as current development practices seem to dictate, from the outside in? When architecture brings together ecology, economics, and social well-being to help people and places regain self-sufficiency, writes Klingmann, it can be a catalyst for cultural and economic transformation.

Alvar Aalto once argued that what mattered in architecture wasn’t what a building looks like on the day it opens but what it is like to live inside it thirty years later. In this book, architect and critic Robert McCarter persuasively argues that interior spatial experience is the necessary starting point for design, and the quality of that experience is the only appropriate means of evaluating a work after it has been built. McCarter reveals that we can’t really know a piece of architecture without inhabiting its spaces, and we need to counter our contemporary obsession with exterior views and forms with a renewed appreciation for interiors. He explores how interior space has been integral to the development of modern architecture from the late 1800s to today, and he examines how architects have engaged interior space and its experiences in their design processes, fundamentally transforming traditional approaches to composition. Eloquently placing us within a host of interior spaces, he opens up new ways of thinking about architecture and what its goals are and should be.