Theory of architecture Books

Book SynopsisThis richly detailed study explores the issue of how architects view the phenomenal world. Mallgrave sketches various moments of architectural thought as a cognitive manifestation of philosophical, psychological, and physiological theory. He later repositions this question from the perspective of contemporary neuroscience.Trade Review"Hence these two books from the same publisher and by the same author, Harry Francis Mallgrave, sole writer of the former and co-author with David Goodman of the second book, make a valuable contribution to this growing field of knowledge." (Architectural Review, 1 July 2011)Table of ContentsIntroduction Part One: Historical Essays 1. The Humanist Brain (Alberti, Vitruvius, and Leonardo). 2. The Enlightened Brain (Perrault, Laugier, and Le Roy). 3. The Sensational Brain (Burke, Price, and Knight). 4. The Transcendental Brain (Kant and Schopenhauer). 5. The Animate Brain (Schinkel, Bötticher, and Semper). 6. The Empathetic Brain (Vischer, Wölfflin, and Göller). 7. The Gestalt Brain (The Dynamics of the Sensory Field). 8. The Neurological Brain (Hayek, Hebb, and Neutra). 9. The Phenomenal Brain (Merleau-Ponty, Rasmussen, and Pallasmaa). Part Two: Neuroscience and Architecture. 10. Anatomy: Architecture of the Brain. 11. Ambiguity: Architecture of Vision. 12. Metaphor: Architecture of Embodiment. 13. Hapticity: Architecture of the Senses. 14. Epilogue: The Architect's Brain. Endnotes. Bibliography. Index.

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Book SynopsisThis is the second part of a major theoretical work by Patrik Schumacher, which outlines how the discipline of architecture should be understood as its own distinct system of communication. Autopoeisis comes from the Greek and means literally self-production; it was first adopted in biology in the 1970s to describe the essential characteristics of life as a circular self-organizing system and has since been transposed into a theory of social systems. This new approach offers architecture an arsenal of general comparative concepts. It allows architecture to be understood as a distinct discipline, which can be analyzed in elaborate detail while at the same time offering insightful comparisons with other subject areas, such as art, science and political discourse. On the basis of such comparisons the book insists on the necessity of disciplinary autonomy and argues for a sharp demarcation of design from both art and engineering. Schumacher accordingly argues controversialTable of ContentsIntroduction to Volume 2 1 6. The Task of Architecture 5 6.1 Functions 7 6.1.1 Functions versus Capacities 11 6.1.2 Substantial versus Subsidiary Functions 17 6.1.3 Tectonics 19 6.1.4 The Categorization of Function-types 22 6.1.5 Problem-types (Function-types) vs Solution-types (Archetypes) 24 6.1.6 Patterns of Decomposition/Composition 30 6.1.7 Functional Reasoning via Action-artefact Networks 32 6.1.8 Limitations of Functional Expertise 39 6.2 Order via Organization and Articulation 42 6.2.1 Organization and Articulation: Historical and Systematic 47 6.2.2 Architectural Order 52 6.2.3 A Definition of Organization for Contemporary Architecture 57 6.2.4 Complicated, Complex, Organized, Ordered 61 6.3 Organization 70 6.3.1 Relating Spatial to Social Organization 72 6.3.2 Territorialization and Integration 77 6.3.3 Systems, Configurations, Organizations 80 6.4 Supplementing Architecture with a Science of Configuration 88 6.4.1 Set Theory 88 6.4.2 Harnessing Network Theory 93 6.4.3 Excursion: Network Theory 99 6.4.4 A City is not a Tree 106 6.4.5 Space Syntax: Concepts and Tools of Analysis 112 6.4.6 Space Syntax: Theoretical Claims 125 6.4.7 From Organization to Articulation: Taking Account of Cognition 131 6.5 Articulation 134 6.5.1 Articulation vs Organization 134 6.5.2 The Problem of Orientation and the Problematic of Legibility 137 6.5.3 Articulate vs Inarticulate Organization 138 6.5.4 Articulation as the Core Competency of Architecture 139 6.5.5 Generalizing the Concept of Function 140 6.6 The Phenomenological vs the Semiological Dimension of Architecture 142 6.7 The Phenomenological Dimension of Architectural Articulation 145 6.7.1 The Perceptual Constitution of Objects and Spaces 147 6.7.2 Cognitive Principles of Gestalt-Perception 153 6.7.3 Parametric Figuration 165 6.8 The Semiological Dimension of Architectural Articulation 167 6.8.1 The Built Works of Architecture as Framing Communications 171 6.8.2 Analogy: Language and Built Environment as Media of Communication 176 6.8.3 Signs as Communications 181 6.8.4 Territory as Fundamental Semiological Unit 183 6.8.5 Saussure’s Insight: Language as System of Correlated Differences 189 6.8.6 Extra-Semiological Demands on Architecture’s Medial Substrate 193 6.8.7 Syntagmatic vs Paradigmatic Relations 196 6.9 Prolegomenon to Architecture’s Semiological Project 200 6.9.1 The Scope of Architecture’s Signified 201 6.9.2 The Composite Character of the Architectural Sign 206 6.9.3 Absolute and Relative Arbitrariness 210 6.9.4 Natural and Artificial Semiosis 215 6.9.5 Designing Architecture’s Semiological Project 222 6.9.6 Cognitive and Attentional Conditions of Architectural Communication 229 6.9.7 Speculation: Expanding the Expressive Power of Architectural Sign Systems 232 6.10 The Semiological Project and the General Project of Architectural Order 238 6.10.1 The Semiological Project in Relation to the Organizational and the Phenomenological Project 239 6.10.2 Relationship between Architectural Languages and Architectural Styles 244 6.10.3 The Requisite Variety of Architectural Articulation 246 7. The Design Process 251 7.1 Contemporary Context and Aim of Design Process Theory 254 7.2 Towards a Contemporary Design Process Reflection and Design Methodology 257 7.2.1 Method vs Process 258 7.3 The Design Process as Problem-solving Process 263 7.3.1 The Design Process as Information-processing Process 264 7.3.2 The Structure of Information-processing Systems 269 7.3.3 Programmes 272 7.3.4 The Task Environment and its Representation as Problem Space 277 7.3.5 Problem Solving as Search in a State Space 284 7.3.6 Planning Spaces 295 7.3.7 Heuristic versus Exhaustive Problem-solving Methods 298 7.4 Differentiating Classical, Modern and Contemporary Processes 311 7.5 Problem Definition and Problem Structure 318 7.5.1 Wicked Problems 319 7.5.2 The Structure of Ill-structured Problems 323 7.5.3 An Information-processing Model for Information-rich Design Processes 332 7.6 Rationality: Retrospective and Prospective 337 7.6.1 Rational in Retrospect: Observing Innovative Design Practice 341 7.6.2 Prospective Rationality 355 7.6.3 Processing the Three Task Dimensions of Architecture 358 7.7 Modelling Spaces 361 8. Architecture and Society 379 8.1 World Architecture within World Society 382 8.2 Autonomy vs Authority 385 8.3 Architecture’s Conception of Society 390 8.3.1 The Crisis of Modernism’s Conception of Society 394 8.3.2 Social Systems Theory and the Theory of Architectural Autopoiesis 396 8.4 Architecture in Relation to other Societal Subsystems 398 8.4.1 Architecture In Relation to the Economic System 401 8.4.2 The Economy and the Design-Principle of Economy of Means 402 8.4.3 Economic Conditions of Architectural Discourse 406 8.4.4 Architecture and Education 407 8.5 Architecture as Profession and Professional Career 410 8.5.1 Authorship, Reputation, Oeuvre 411 8.5.2 Centre-periphery Differentiation within Architecture 414 8.5.3 The Absorption of Uncertainty 418 8.5.4 The Architectural Design Studio as Organization 420 8.6 The Built Environment as Primordial Condition of Society 422 8.6.1 The Built Environment As Indispensable Substrate of Social Evolution 423 8.6.2 From Spatial Order to Conceptual Order 426 8.6.3 Beauty and the Evolution of Concepts of Order 434 9. Architecture and Politics 439 9.1 Is Political Architecture Possible? 440 9.1.1 Political Vacuum 441 9.1.2 Normal vs Revolutionary Politics 445 9.2 Theorizing the Relationship between Architecture and Politics 448 9.2.1 The Incommensurability of Architecture and Politics 448 9.2.2 Architecture Responds to Political Agendas – Three Scenarios 450 9.2.3 Service Provisions Between Architecture and Politics 453 9.3 Architecture Adapts to Political Development 459 9.3.1 Modern Architecture Calls on Politics 461 9.3.2 The ABC Group: Political Agitation Within Architecture 462 9.3.3 The Vicissitudes of Political Polarization 466 9.4 The Limitations of Critical Practice in Architecture 470 9.4.1 General Political Critique and Macro-political Ambitions 470 9.4.2 Architecture’s ‘Micro-Political’ Agency: Manipulating Non-political Power 472 9.4.3 Who Controls the Power-distributing Capacity of Design? 474 9.4.4 Public Competitions As Structural Coupling between Architecture and Politics 477 10. The Self-descriptions of Architecture 484 10.1 Theoretical Underpinnings 485 10.1.1 Reference as Self-reference 489 10.1.2 Levels of Self-reference 490 10.2 The Necessity of Reflection: Architectural Theory as Reflection Theory 496 10.2.1 Continuity vs Consistency 501 10.2.2 Categorical vs Variable Structures of Communication 504 10.3 Classic Treatises 509 10.3.1 Alberti’s De re aedificatoria 511 10.3.2 Durand’s Précis des lecçns d’architecture 543 10.3.3 Le Corbusier’s Vers une architecture 568 10.3.4 The Autopoiesis of Architecture 592 10.4 Architectural Historiography 606 10.4.1 History of Architecture’s Autonomization and Internal Structuration 608 10.4.2 History of Architectural Styles as Responses to Epochal Shifts in the Societal Environment 610 10.5 Architectural Criticism 615 11. Parametricism – The Parametric Paradigm and the Formation of a New Style 617 11.1 Parametricism as Epochal Style 622 11.1.1 Historiographical Sketch: The Epochal Alignment of Styles 627 11.1.2 A Unified Style for the 21st Century 642 11.1.3 The Maturity of Parametricism 646 11.1.4 Polarized Confrontation: Parametricism versus Minimalism 648 11.1.5 Styles as Design Research Programmes 651 11.2 The Parametricist Research Programme 654 11.2.1 Conceptual Definition of Parametricism 654 11.2.2 Operational Definition of Parametricism: The Defining Heuristics of Parametricism 656 11.2.3 Genealogy of the Parametricist Heuristics 660 11.2.4 Analogies: Emulating Natural Systems 663 11.2.5 Agendas Advancing Parametricism 669 11.2.6 The Agenda of Ecological Sustainability 676 11.3 Parametricist vs Modernist Urbanism 680 11.3.1 Simple Order, Disorder, Complex Order 681 11.3.2 Implementing Parametricist Urbanism 686 11.4 Elegance 700 12. Epilogue – The Design of a Theory 710 12.1 Theoretical Foundation: Communication Theory vs Historical Materialism? 714 12.2 The Theory of Architectural Autopoiesis as Unified Theory of Architecture 719 12.3 Notes on the Architecture of the Theory 722 12.4 The Theory as the Result of Contingent Theory Design Decisions 726 Concluding Remarks 735 Appendix 3: The Autopoiesis of Architecture in the Context of Three Classic Texts 737 Appendix 4: Theses 25–60 742 References 748 Index 759

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Book SynopsisTake a theoretical approach to architecture with The Autopoiesis of Architecture, which presents the topic as a discipline with its own unique logic. Architecture''s conception of itself is addressed as well as its development within wider contemporary society. Author Patrik Schumacher offers innovative treatment that enriches architectural theory with a coordinated arsenal of concepts facilitating both detailed analysis and insightful comparisons with other domains, such as art, science and politics. He explores how the various modes of communication comprising architecture depend upon each other, combine, and form a unique subsystem of society that co-evolves with other important autopoietic subsystems like art, science, politics and the economy. The first of two volumes that together present a comprehensive account of architecture''s autopoiesis, this book elaborates the theory of architecture?s autopoeisis in 8 parts, 50 sections and 200 chapters. Each of the 50 sTable of ContentsPreface xi 0 Introduction: Architecture as Autopoietic System 1 0.1 Architecture as a System of Communications 1 0.2 A Unified Theory of Architecture 4 0.3 Functional vs Causal Explanations 14 0.4 The Quest for Comprehensiveness 17 0.5 The Premises Imported from Social Systems Theory 19 0.6 Architecture’s Place within Society 25 1 Architectural Theory 29 1.1 The Unity of Architecture 29 1.1.1 Architectural System-formation and Self-regulation 30 1.2 The Evolution of Architecture 32 1.2.1 Architectural Theory as Mechanism of Selection 33 1.3 The Necessity of Theory 35 1.3.1 The Function of Architectural Theory 36 1.3.2 Types of Theories 39 1.3.3 The Necessity to Reflect Architecture’s Societal raison d’être 47 1.3.4 Super-theories 54 1.3.5 The Theory of Architectural Autopoiesis as Domain-specific Super-theory 58 1.3.6 From Deconstruction to the Programme of Critical Theory 62 2 The Historical Emergence of Architecture 71 2.1 The Emergence of Architecture as Self-referential System 72 2.1.1 Inside-descriptions vs Outside-descriptions 72 2.1.2 Function Systems 74 2.1.3 The Historical Crystallization of Architecture 77 2.2 Foundation and Refoundation of Architecture 81 2.2.1 Autonomization: The Origin of the Discipline in the Italian Renaissance 81 2.2.2 The Refoundation of the Discipline as Modern Architecture 87 2.2.3 The Exclusive Competency and Universal Scope of Modern Architecture 89 2.2.4 The Liberation from Traditional Formal Constraints 91 2.2.5 The Switch from Edifice to Space 93 2.3 Avant-garde vs Mainstream 95 2.3.1 A Prerequisite for Evolution 97 2.3.2 The Autonomy of the Avant-garde 99 2.3.3 Communications between Avant-garde and Mainstream 102 2.3.4 The Reciprocal Dependency between Avant-garde and Mainstream 107 2.3.5 The Time Structure of the Avant-garde Process: Cumulative vs Revolutionary Periods 110 2.3.6 Concrete Exemplars vs Abstract Principles 115 2.3.7 Revolution and Philosophy 120 2.3.8 Latent Utopias vs the Utopian Ambitions of the Historical Avant-garde 123 2.3.9 Retroactive Manifestos 129 2.4 Architectural Research 132 2.4.1 Architectural Research as Avant-garde Design Research 133 2.4.2 Architecture Schools as Laboratories 138 2.5 The Necessity of Demarcation 144 2.5.1 The Differentiation of Art and Architecture 146 2.5.2 The Differentiation of Science and Architecture 155 2.5.3 The Differentiation of Architecture and Engineering 160 2.5.4 The Rationality of Demarcation 163 2.5.5 The Specificity of Architecture within the Design Disciplines 166 3 Architecture as Autopoietic System – Operations, Structures and Processes 171 3.1 Architectural Autopoiesis within Functionally Differentiated Society 177 3.1.1 Niklas Luhmann’s Theory of Modern Society 177 3.1.2 Third Order Observation 182 3.1.3 Codes and Media 183 3.1.4 The Concept of Social Autopoiesis 184 3.2 The Autonomy of Architecture 188 3.2.1 Openness through Closure 190 3.2.2 Irritations 193 3.2.3 Communication Structures 195 3.3 The Elemental Operation of Architecture 197 3.3.1 Design Decisions 199 3.3.2 Network-dependency of Elemental Operations 200 3.3.3 Design Decisions and External Demands 202 3.4 The Lead-distinction within Architecture and the Design Disciplines 204 3.4.1 The Primacy of Distinctions 205 3.4.2 Form vs Function as the Lead-distinction within the Design Disciplines 207 3.4.3 The Double Reference of the Design Disciplines 209 3.5 The Codification of Architecture 215 3.5.1 Binary Codes 217 3.5.2 Utility and Beauty as the Double Code of Architecture 219 3.5.3 Polycontexturality 224 3.5.4 The Unique Double Code of Architecture as Demarcation Device 226 3.5.5 The Double Code of Architecture and the Triple Code of Avant-garde Architecture 228 3.5.6 Discursive Oscillation: Coping with an Expanding Universe of Possibility 233 3.5.7 Abstraction and Openness 238 3.6 Architectural Styles 241 3.6.1 The Concept of Style(s) 241 3.6.2 The Rationality of Style(s) 254 3.6.3 Styles as the Necessary Programmes of Architecture 256 3.6.4 Styles Regulate Form and Function 258 3.6.5 Reluctant Styles 261 3.6.6 The Inescapability of the Formal A Priori 263 3.6.7 The Double Contingency of Style Formation 267 3.6.8 Stylistic Awareness as Second Order Observation 271 3.6.9 Progress as Progression of Styles 273 3.7 Styles as Research Programmes 277 3.7.1 The Creativity of Styles/Research Programmes 279 3.7.2 The Tenacity of Styles/Research Programmes 280 3.7.3 The Structure of Styles/Research Programmes: Autonomy, Hard Core, Heuristics 283 3.7.4 The Great Historical Styles: Hard Core and Heuristics 287 3.7.5 Problem Domain and Solution Space as Sources of Stylistic Innovation 290 3.7.6 Paradigmatic Mainline and Speculative Extrapolation 293 3.7.7 Progressive vs Degenerate Styles/Research Programmes 294 3.7.8 Methodological Tolerance 297 3.8 The Rationality of Aesthetic Values 300 3.8.1 The Historical Transformation of Aesthetic Values 302 3.8.2 Aesthetic Values and the Code of Beauty 305 3.8.3 The Mystery of Beauty 306 3.8.4 Formal A Priori, Idiom and Aesthetic Values 308 3.8.5 The Necessity of Aesthetic Revolutions 310 3.8.6 Aesthetic Values: Designers vs Users 313 3.9 The Double-nexus of Architectural Communications: Themes vs Projects 315 3.9.1 The Unity of the Difference between Themes and Projects 316 3.9.2 The Difference between Themes and Projects 317 3.9.3 The Interaction between Themes and Projects 318 4 The Medium of Architecture 323 4.1 Medium and Form 324 4.1.1 Symbolically Generalized Media of Communication 326 4.1.2 The Medium as Revealing and Concealing 330 4.1.3 The Medium as Universe of Possibilities 331 4.1.4 Medium and Manner 333 4.1.5 The Standard Medium of Architecture 335 4.1.6 Recursive Self-reference 338 4.2 The Medium and the Time Structure of the Design Process 342 4.2.1 Différance: The Productive Vagueness of the Medium 342 4.2.2 The Diagram 346 4.2.3 Specious vs Point-like Time: The Time Structure of the Architectural Project 355 5 The Societal Function of Architecture 363 5.1 Architecture as Societal Function System 364 5.1.1 Function vs Service 365 5.1.2 Function Systems and the Functional Exigencies of Society 367 5.1.3 Framing as Societal Function of Architecture 371 5.1.4 The Definition of the Situation as Precondition of Social Interaction 376 5.1.5 Framing Double Contingency 378 5.1.6 Double Contingency Radicalized 383 5.1.7 The relationship between Art and Architecture in terms of their Societal Function 389 5.2 Innovation as Crucial Aspect of Architecture’s Societal Function 391 5.2.1 The Burden and Risk of Permanent Innovation 392 5.2.2 The Innovative Capacity of Architecture’s Operations and Structures 394 5.2.3 Variation, Redundancy and Adaptive Pertinence 396 5.3 Strategies and Techniques of Innovation 398 5.3.1 The Power of Abstraction 398 5.3.2 The history of Architectural Innovations 402 5.3.3 Conceptual Manoeuvres 408 5.4 Key Innovations: Place, Space, Field 411 5.4.1 The Emergence of Architectural Space 413 5.4.2 The Hegemony of Architectural Space 417 5.4.3 The Transcendence of Architectural Space 419 5.4.4 From Space to Field 421 Concluding Remarks 435 Appendix 1: Comparative Matrix of Societal Function Systems 437 Appendix 2: Theses 1–24 441 References 445 Index 453 Picture Credits 463

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Book SynopsisA collection of twenty-one essays that presents case studies on Kostof's model of urban forms and fabrics. It focuses on individual streets around the world and from different historical periods.Table of ContentsESSAYS BY: Annmarie Adams Nezar AlSayyad Eleni Bastea Charles Burroughs Greg Castillo Zeynep Celik Joan Draper Diane Favro Paul Groth Heng Chye Kiang Krystyna von Henneburg Richard Ingersoll Richard Longstreth Jean-Pierre Protzen John Howland Rowe Deborah Robbins Bruce Thomas Stephen Tobriner Marc Treib Dell Upton Gwendolyn Wright Fikret K. Yegul

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Book SynopsisBy way of more than 2,000 years of architectural history, this illustrated book defines and shows the major components of the art - from theory, plans, and models to structural elements such as columns, arches, and domes, to materials and decorative elements.Trade Review"There's no shortage of architectural primers, but this one stands out for two reasons. First, the eye-popping clarity of the 325 photographs. Second, its refreshing breadth: There's a section on murals as well as metallic alloys, and the section on staircases includes a 1932 stadium ramp as well as the entrance to a 1528 chateau. More than a cheat sheet, it's a guide to be enjoyed."--John King, San Francisco Chronicle "This title combines the best of two art-book formats: it is filled with excellent color photographs that illustrate architectural forms, yet it is also the size of a field guide and can be held comfortably in the hand... Although this is not a standard reference book, it delights the eye with its juxtapositions, and could be the inspiration for a field trip to see these wonderful buildings."--V.E. Young, Choice "This is not merely a guidebook to the world of architecture... No reader can deny the densely illustrated nature of this book... The author has done her best to compile texts and images that are educational for undergraduate students. The book also presents an informative companion for readers who to visit buildings located in various regions and built in different historical periods."--Gevork Hartoonian, Architectural Science ReviewTable of ContentsIntroduction 6 The Tools of the Architect 9 Stability and Form 55 Materials and Techniques 211 Architecture and Decoration 295 Masterpieces Compared 337 Glossary of Terms 374 Photographic Sources 378 Index of Topics 379 Index of Names and Places 380

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Book Synopsis* A sophisticated account of the work of key German thinkers, including Benjamin and Simmel, and their writings about the city. * Will have a wide--ranging approach, appealing to students and scholars of social theory but also urban studies and architecture. * Features 15 illustrations.Trade Review"This book by David Frisby has his characteristic hallmarks: it is meticulously well researched and it makes unexpected and exciting connections between bodies of thought not commonly linked together. Indeed the playing off of social theory and architectural theory is one of its distinctive contributions. His various asides, for instance his interest in detective stories, or on expressionism, are always provocative and interesting. A book to be celebrated." Mike Savage, University of Manchester ‘A wonderfully incisive dissection of new configurations of "cities" in the contemporary world' John Urry, Lancaster University "The collection as a whole offers empirically rich and theoretically sophisticated contextual readings of major sociologists' reflections on urban life....In Frisby's hands, spatial dynamics become an indispensable component of sociological theory." Environment and Planning "the collection as a whole offers empirically rich and theoriectically sophisticated contextual readings of major sociologists' reflections on urban life. In Frisby's hands, spatial dynamics become an indipensable component of sociological theory". Thomas Lekan, Department of History, University of South Carolina.Table of ContentsIllustrations. Acknowledgements. Introduction. Chapter 1: The City Observed: The Flâneur in Social Theory. Chapter 2 : The City Detected: Representations and Realities of Detection. Chapter 3: The City Interpreted: Georg Simmel's Metropolis. Chapter 4: The City Compared: Vienna is not Berlin. Chapter 5: The City Designed: Otto Wagner and Vienna. Chapter 6: The City Dissolved: Social Theory, the Metropolis and Expressionism. Chapter 7: The City Rationalized: Martin Wagner's New Berlin. Conclusion. Notes. Bibliography. Index

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisIn this volume, one of today's foremost art historians and critics presents a view of architecture and the city through the twin lenses of cultural theory and psychoanalysis.Trade Review“The reader is invited to pass from philosophy to architecture, from antiquity to the modern era, from Europe to America, from Herodotus to Tocqueville, from Descartes to Freud, to say nothing of references, explicit in these instances, to times when I frequented dark theaters, encounteredAmerica, its incomparable cities and spaces, and traveled to Berlin.”—from the Author’s PrefaceTable of ContentsContents PART ONE: 1 2 3 4 5 PART TWO: 6 7 8 9

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Book SynopsisOffers a sustained meditation on the role of interruption in modernity. This book departs from and elaborates an important but overlooked dimension of Walter Benjamin's discourse: the question of style as it bears upon temporality and spatiality. This work suggests that the time has come to revise existing paradigms.Table of ContentsIntroduction: Style, Time, and Appearance; Part 1. Working through Walter Benjamin; 1. Benjamin's Modernity; 2. Being Roman Now: The Time of Fashion. A Commentary on Walter Benjamin's ""Theses on the Philosophy of History"" XIV; 3. Benjamin's Style: The Style that is not Jugendstil; Part 2. Unforeseen Appearances; 4. The ""Place"" of Cosmopolitan Architecture; 5. ""In What Style Should We Build?"" The Style of Cosmopolitan Architecture; 6. Refugees, Cosmopolitanism, and the Place of Citizenship; 7. The Matter of a Materialist Philosophy of Art: Bataille's Manet.

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Book SynopsisA collection of essays rethinking architecture, design, and technology from feminist perspectives. Each contributor asks how we might think differently and more inclusively about human needs in the environments in which we live and work.Table of ContentsForeword Acknowledgments Introduction: Re-visioning Design Agendas Feminisms and Design: Review Essay Expanding the Urban Design Agenda: A Critique of the New Urbanism Claiming Women's History in the Urban Landscape: Projects from Los Angeles Graphic Design in the Urban Landscape Outgrowing the Corner of the Kitchen Table Shifting the Paradigm: Houses Built for Women "Special Needs'' and Housing Design: Myths/Realities/Opportunities Made in Patriarchy: Theories of Women and Design--A Reworking On Being an Industrial Designer: Rethinking Practice Women Designers: Making Differences The Domestication of Space-Age Technologies Sustainability and the City Participatory Design at the Grass Roots Women's Design Service: Feminist Resources for Urban Environments Re-designing Architectural Education: New Models for a New Century Afterword Contributors Index

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Book SynopsisFor roughly a century, the log cabin occupied a central and indispensable role in the rapidly growing United States. In her thought-provoking and generously illustrated new book, Alison Hoagland looks at this once-common dwelling as a practical shelter solution, and its evolving place in the public memory.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisWe do not see empty figures and outlines; we do not move in straight lines. Everywhere we are surrounded by dapple; the geometry of our embodied lives is curviform. But nowhere in the language of cartography and design do these ordinary experiences appear. This book argues that this is a serious omission because they are designs on the world.

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Book SynopsisThis series offers a range of heretofore unavailable writings in English translation on the subjects of art, architecture, and aesthetics.Hubsch's argument that the technical progress and changed living habits of the nineteenth century rendered neoclassical principles antiquated is presented here along with responses to his essay by architects, historians, and critics over two decades.

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Book SynopsisThis text aims to define the elements of early modernist architecture according to notions of realism and simplicity. Its critique of stylistic architecture is not only linked to the development of the Deutsche Werkbund movement, but also can be viewed as a cornerstone of the modern movement.

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Book SynopsisHow do we think about architecture historically and theoretically? This book provides an introduction to some of the wide-ranging ways in which architectural history and theory are being approached today. It takes in a total of 40 essays covering key subjects, ranging from memory and heritage to everyday life, building materials and city spaces.Table of ContentsAcknowledgements 7 Introduction 8 Adrian Forty, Future Imperfect: Inaugural Professorial Lecture, delivered at UCL in December 2000 17 1 ANDREW SAINT, How To Write About Buildings? 33 2 ANNE HULTZSCH, Pevsner vs Colomina: Word and Image on the Page 36 3 ANTHONY VIDLER, Smooth and Rough: Tactile Brutalism 43 4 BARBARA PENNER, Homely Affi nities 48 5 BEN CAMPKIN, On Regeneration 54 6 BRIAN STATER, Fresh Reactions to St Paul’s Cathedral 60 7 BRIONY FER, Photographs and Buildings (mainly) 65 8 DAVID DUNSTER, Stirling’s Voice: A Detailed Suggestion 72 9 DAVIDE DERIU, Carte Blanche? 77 10 ELEANOR YOUNG, Buildings: A Reader’s Guide 83 11 GRISELDA POLLOCK, The City and the Event: Disturbing, Forgetting and Escaping Memory 89 12 HILDE HEYNEN, The Most Modern Material Of Them All … 95 13 IAIN BORDEN, ‘Things that People Cannot Anticipate’: Skateboarding at the Southbank Centre 100 14 IRENA ŽANTOVSKÁ MURRAY, ‘Truth, Love, Life’: Building with Language in Prague Castle under Masaryk 106 15 JAN BIRKSTED, Le Corbusier: Lies, Damned Lies and Statistics 112 16 JANE RENDELL, During Breakfast 119 17 JEAN-LOUIS COHEN, [American] Objects of [Soviet] Desire 127 18 JEREMY MELVIN, Words and Buildings 134 19 JEREMY TILL, Slow Hard Look 140 20 JOE KERR, Topography, Biography and Architecture 144 21 JOHN MACARTHUR, Of Character and Concrete: The Historian’s Material 150 22 JONATHAN CHARLEY, Spectres of Marx in City X 155 23 JONATHAN HILL, History by Design 163 24 KESTER RATTENBURY, Angel Place: A Way in to Dickens’s London 168 25 LAURENT STALDER, On ‘Sachlichkeit’: Some Additional Remarks on an Anglo-German Encounter 174 26 MARK SWENARTON, Double Vision 180 27 MARY MCLEOD, Modernism 185 28 MICHAEL EDWARDS, Yes, And We Have No Dentists 193 29 MURRAY FRASER, Reyner Banham’s Hat 197 30 PEG RAWES, Situated Architectural Historical Ecologies 204 31 PENNY SPARKE, Objects 210 32 SIR PETER HALL, Richard Llewelyn Davies, 1912–1981: A Lost Vision for The Bartlett 214 33 SARAH WIGGLESWORTH, Things Ungrand 220 34 TANIA SENGUPTA, ‘Minor’ Spaces in Officers’ Bungalows of Colonial Bengal 224 35 THOMAS WEAVER, Memoirs of Adrian 235 36 TOM DYCKHOFF, All That Glitters 239 37 TONY FRETTON, A Response to Words and Buildings 243 38 VICTORIA PERRY, Material Culture: ‘Manchester of the East’, Le Corbusier, Eames and Indian Jeans 249 39 WILLIAM MENKING, Mr Mumford’s Neighbourhood 254 40 YAT MING LOO, Banyan Tree and Migrant Cities: Some Provisional Thoughts for a Strategic Postcolonial Cosmopolitanism 259 Author Biographies 266 Index 275 Photo credits 280

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Book SynopsisAs cities compete globally, the Smart City has been touted as the important new strategic driver for regeneration and growth. Smart Cities are employing information and communication technologies in the quest for sustainable economic development and the fostering of new forms of collective life. This has made the Smart City an essential focus for engineers, architects, urban designers, urban planners, and politicians, as well as businesses such as CISCO, IBM and Siemens. Despite its broad appeal, few comprehensive books have been devoted to the subject so far, and even fewer have tried to relate it to cultural issues and to assume a truly critical stance by trying to decipher its consequences on urban space and experience. This cultural and critical lens is all the more important as the Smart City is as much an ideal permeated by Utopian beliefs as a concrete process of urban transformation. This ideal possesses a strong self-fulfilling character: our cities will become 'Smart' because we want them to. This book opens with an examination of the technological reality on which Smart Cities are built, from the chips and sensors that enable us to monitor what happens within the infrastructure to the smartphones that connect individuals. Through these technologies, the urban space appears as activated, almost sentient. This activation generates two contrasting visions: on the one hand, a neo-cybernetic ambition to steer the city in the most efficient way; and on the other, a more bottom-up, participative approach in which empowered individuals invent new modes of cooperation. A thorough analysis of these two trends reveals them to be complementary. The Smart City of the near future will result from their mutual adjustment. In this process, urban space plays a decisive role. Smart Cities are contemporary with a 'spatial turn' of the digital. Based on key technological developments like geo-localisation and augmented reality, the rising importance of space explains the strategic role of mapping in the evolution of the urban experience. Throughout this exploration of some of the key dimensions of the Smart City, this book constantly moves from the technological to the spatial as well as from a critical assessment of existing experiments to speculations on the rise of a new form of collective intelligence. In the future, cities will become smarter in a much more literal way than what is often currently assumed.Table of ContentsAcknowledgements 005 Introduction: A New Urban Ideal 009 Spatialised Intelligence 011 Technology, Space and Politics 015 Chapter 1: The Advent of the Smart City, from Flow Management to Event Control 023 Defining the Smart City 024 Self-Fulfilling Fictions 030 The Sentient and Sensory City 037 Massive Quantities of Data 046 What Happens 052 Chapter 2: A Tale of Two Cities 067 Neocybernetic Temptation 069 The Cyborg-City Hypothesis 078 Spontaneous City, Collaborative City 083 The Digital Individual 091 Chapter 3: Urban Intelligence, Space and Maps 105 Augmented Reality and Geolocation 106 Towards Three-Dimensional Urbanism 110 A New Relationship to Infrastructure 119 The Stakes of Representation 124 A New Aesthetic 138 Laboratories of Public Life in the Digital Age 140 Conclusion: The Challenges of Intelligence 145 The Limits of All-Digital Solutions 146 The Necessary Diversification of Scenarios 149 Public/Private 153 From Event to History 154 Bibliography 158 Index 162 Picture Credits 167

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Book SynopsisPaves the path for the adoption and effective implementation of BIM by design firms, emphasizing the design opportunities that this workflow affords This book expands on BIM (Building Information Modeling), showing its applicability to a range of design-oriented projects. It emphasizes the full impact that a data modeling tool has on design processes, systems, and the high level of collaboration required across the design team. It also explains the quantitative analysis opportunities that BIM affords for sustainable design and for balancing competing design agendas, while highlighting the benefits BIM offers to designing in 3D for construction. The book concludes with a deep look at the possible future of BIM and digitally-enhanced design. Through clear explanation of the processes involved and compelling case studies of design-oriented projects presented with full-color illustrations, BIM for Design Firms: Data Rich Architecture at Small and Medium Scales Table of ContentsAcknowledgments vii Introduction ix 1 Digital Design 1 Introduction 1 What’s Wrong with BIM? 7 Leveraging BIM Workflows in the Design and Delivery of Complex Projects 9 BIM in Academia: How BIM Is Taught 15 Conclusion 27 2 BIM Past and Present 29 A Brief History of BIM 29 The Right Project for BIM 33 BIM-Authoring Platforms and Technologies 34 Driving Model-Based Deliverables with the BIM Forum Level of Development (LOD) Specification 42 Industry Foundation Classes 46 Other BIM Interoperability 61 3 What Tools Mean 65 Introduction 65 BIM: What It Is and What It Isn’t 68 The Myth of the Neutral Tool 82 Guiding Principles 85 4 Appropriate Technology 91 Introduction 91 Transitioning to BIM 95 5 Case Studies in Form Making 121 Introduction 121 The Case Studies 122 Conclusion 148 6 Case Studies in Digital Fabrication 149 Introduction 149 Case Studies 150 7 BIM Tomorrow: Trends in Technology 175 A Technology-Rich Future for the Profession 175 Digital Realities: Virtual, Augmented, and Mixed Modes 176 Computational Design and Visual Programming Languages 185 LiDAR, Photogrammetry, and Point Clouds 193 Artificial Intelligence (AI) 196 Conclusion 201 Afterword 203 Index 207

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Book SynopsisArchitectural Theory: Vitruvius to 1870 is a landmark anthology that surveys the development of the field of architecture from its earliest days to the year 1870. The first truly comprehensive anthology that brings together the classic essays in the field, the volume chronicles the major developments and trends in architecture from Vitruvius to Gottfried Semper. Volume 1 of the first overview of architectural thought from antiquity to the present day; this volume covers 25 B.C. to 1870 Collects over 200 classic essays in the field, organized thematically for the student and scholar, covering Classicism, Neoclassicism, the Enlightenment, Romanticism, and the Gothic Includes German, French, and Italian essays appearing in English here for the first time Features a general introduction and headnotes to each essay written by a renowned expert on architectural theory. Trade Review“The book's range is stunning, its scholarship thoroughly accurate, and its rendering of ideas entirely lucid. Here we have a comprehensive and insightful account of theory that will, I trust, find its way onto the desks of students, professors, and professionals alike.” David Leatherbarrow, University of Pennsylvania “Harry Mallgrave’s Architectural Theory is the most scrupulous, discriminating, and useful anthology one could expect following the last three decades of intense study in the history of Western architectural theory.” Martin Bressani, McGill University “[Architectural Theory] represents an extremely valuable resource for architectural design, history, and theory education and, more broadly, for aesthetic education, art history, aesthetics, and visual culture...an excellent stand-alone companion to the academic, undergraduate, and graduate student.” Journal of Aesthetic EducationTable of ContentsPreface. Acknowledgments. General Introduction. Part I: Classicism and the Renaissance. A. The Classical and Medieval Traditions. Introduction. 1. Vitruvius. from De architectura,Book 1 (c.25 B.C.). 2. Vitruvius. from De architectura, Book 2 (c.25 B.C.). 3. Vitruvius. from De architectura, Book 3 (c.25 B.C.). 4. Vitruvius. from De architectura, Book 4 (c.25 B.C.). 5. Old Testament. from I Kings. 6. Old Testament. from The Book of Ezekiel (c.586 B.C.). 7. New Testament. from The Revelation of Jesus Christ to Saint John (c.95 A.D.). 8. Abbot Suger. from The Book of Suger, Abbot of Saint-Denis (c.1144). 9. William Durandus. from Rationale divinorum officiorum (1286). B. Renaissance and Baroque Ideals. Introduction. 10. Antonio di Tuccio Manetti. from The Life of Brunelleschi (1480s). 11. Leon Battista Alberti. from De re aedificatoria, Prologue and Book I (1443–1452). 12. Leon Battista Alberti. from De re aedificatoria, Book 6. 13. Leon Battista Alberti. from De re aedificatoria, Book 9. 14. Il Filarete. from Book I of untitled treatise on architecture (1461–3). 15. Il Filarete. from Book VIII of untitled treatise on architecture. 16. Sebastiano Serlio. from Book 3, De antiquita (1540). 17. Giacomo Barozzi da Vignola. from Preface to Regola delli cinque ordini d’architettura (1562). 18. Palladio. from I quattro libri dell’architettura (1570). 19. Juan Bautista Villalpando. from In: Ezekielem Explanationes (1604). 20. Georgio Vasari. from Preface to Le vite de piu eccellenti architetti, pittori, et scultori italiani (1550, 1568). 21. Georgio Vasari. from “Life of Michelangelo” in Le vite de piu eccellenti architetti, pittori, et scultori italiani (1550, 1568). 22. Peter Paul Rubens. from Preface to Palazzi di Genova (1622). Part II: Classicism in France and Britain. A. French Classicism: Ancients and Moderns. Introduction. 23. René Descartes. from Regulae ad Directionen Ingenii (1628). 24. Roland Fréart de Chambray. from Preface to Parallele de l’architecture antique et de la moderne (1650). 25. Paul Fréart de Chantelou. from Diary of the Cavaliere Bernini’s Visit to France (1665). 26. François Blondel. from “Discours pronounce par Mr Blondel a l’ouverture de l’Academie d’Architecture” (1671). 27. François Blondel,. from Cours d’architecture (1675). 28. René Ouvrard. from Architecture harmonique (1677). 29. Claude Perrault. annotations to French translation of Les dix livres d’architecture de Vitruve (1673). 30. François Blondel. from Cours d'architecture, Vol. II (1683). 31. Claude Perrault. from Les dix livres d’architecture de Vitruve, second edition (1684). 32. Claude Perrault. from Ordonnance des cinq espèces de colonnes selon la méthode des Anciens (1683). 33. Jean-François Félibien. from Preface to Recueil historique de la vie et des ouvrages des plus célebres architectes (1687). 34. Charles Perrault. from Preface to Parallèle des anciens et des modernes en ce qui regarde les arts et les sciences (1688). 35. Charles Perrault (1688–97). from “Dessin d’un portail pour l’Église de Sainte-Geneviève à Paris” (1697). 36. Michel de Frémin. from Mémoires critiques d'architecture (1702). 37. Jean-Louis de Cordemoy. from Nouveau traité de toute l'architecture (1706, 1714). B. British Classicism and Palladianism. Introduction. 38. Henry Wotton. from The Elements of Architecture (1624). 39. Christopher Wren. from Tract I on architecture (mid-1670s). 40. Christopher Wren. from Tracts II and IV on architecture (mid-1670s). 41. Anthony Ashley Cooper, Third Earl of Shaftesbury. from Characteristics of Men, Manners, Opinions, Times (1711). 42. Anthony Ashley Cooper, Third Earl of Shaftesbury. from "A Letter Concerning Design" (1712). 43. Colin Campbell. Introduction to Vitruvius Britannicus, Vol. I (1715). 44. Nicholas Du Bois. Translator’s Preface to The Architecture of A. Palladio (1715). 45. William Kent. “Advertisement”to The Designs of Inigo Jones (1727). 46. James Gibbs,. Introduction to A Book of Architecture (1728). 47. Robert Morris. from An Essay in Defence of Ancient Architecture (1728). 48. Alexander Pope. from Of False Taste (1731). 49. Isaac Ware. “Advertisement” to Andrea Palladio: The Four Books of Architecture (1737). 50. Robert Morris. from “An Essay upon Harmony” (1739). Part III: Neoclassicism and the Enlightenment. A. Early Neoclassicism. Introduction. 51. Johann Bernhard Fischer von Erlach. from Preface to Entwurf einer historischen Architektur (1721). 52. Voltaire. from Lettres philosophiques sur les anglais (1733). 53. Jacques-Gabriel Soufflot. from "Mémoire sur les proportions de l’architecture” (1739). 54. Jacques-Gabriel Soufflot. from “Mémoire sur l’architecture gothique” (1741). 55. Carlo Lodoli. from Notes for a projected treatise on architecture (c.1740s). 56. Baron de Montesquieu. from Preface to L'Esprit des Lois (1748). 57. Jean-Jacques Rousseau. from Discours sur les sciences et les arts (1750). 58. Jean Le Rond D'Alembert. from “Discours préliminaire des editeurs” (1751). 59. Jacques-François Blondel. from “Architecture” in Diderot’s Encyclopédie (1751). 60. Charles-Étienne Briseau. from Preface to Traité du beau essentiel dans les arts (1752). 61. Marc-Antoine Laugier. from Essai sur l’architecture (1753). 62. Marc-Antoine Laugier. from Essai sur l’architecture (1753). 63. Isaac Ware. from A Complete Body of Architecture, Chapter II (1756). 64. Isaac Ware. from A Complete Body of Architecture, Chapter IX (1756). 65. William Chambers. from A Treatise on Civil Architecture (1759). 66. William Chambers. from A Treatise on the Decorative Part of Civil Architecture (1791). B. Greece and the Classical Ideal. Introduction. 67. James Stuart and Nicholas Revett. From "Proposals for publishing an accurate description of the Antiquities of Athens” (1748). 68. Robert Wood and James Dawkins. from The Ruins of Palmyra (1753). 69. Johann Joachim Winckelmann. from Gedanken über die Nachahmung der griechischen Werke in der Mahlerey und Bildhauer-Kunst (1755). 70. Allan Ramsay. from “A Dialogue on Taste” in The Investigator (1755). 71. Julien-David Leroy. from Les Ruines des plus beaux monuments de la Grece (1758). 72. Julien-David Leroy. from Les Ruines des plus beaux monuments de la Grece (1758). 73. James Stuart and Nicholas Revett. from the Preface to The Antiquities of Athens (1762). 74. Johann Joachim Winckelmann. from Geschichte der Kunst des Alterthums (1764). 75. Johann Joachim Winckelmann. from Geschichte der Kunst des Alterthums (1764). 76. Johann Joachim Winckelmann. from Geschichte der Kunst des Alterthums (1764). 77. Giovanni Battista Piranesi. from Osservazioni sopra la letter de Monsieur Mariette (1765). 78. Giovanni Battista Piranesi. from Parere su l’architettura (1765). 79. Giovanni Battista Piranesi. from “An Apologetical Essay in Defence of the Egyptian and Tuscan Architecture” (1769). C. Character and Expression. Introduction. 80. Germain Boffrand. from Livre d'architecture (1745). 81. Étienne Bonnot de Condillac. from Essai sur l’origine des connaissances humaines (1746). 82. Julien-David Leroy. from Histoire de la disposition et des formes differentes que les chréstiens ont données à leur temples (1764). 83. Jacques-François Blondel. from Cours d’architecture (1771). 84. Nicolas Le Camus de Mézières. from Le génie de l’architecture (1780). 85. Nicolas Le Camus de Mézières. from Le génie de l’architecture (1780). 86. Jean-Louis Viel de Saint-Maux. from Lettres sur l’architecture des anciens et celles des modernes (1787). 87. A. C. Quatremère de Quincy. from Encyclopédie méthodique (1788). 88. Étienne-Louis Boullée. from Architecture, essai sur l’art (c.1794). 89. Étienne-Louis Boullée. from Architecture, Essai sur l’art (c.1794). 90. Claude Nicolas Ledoux. from L'architecture considérée sous le rapport de l'art, des moeurs et de la législation (1804). 91. John Soane. from Royal Academy Lectures on Architecture (V and XI; 1812–15. Part IV: Theories of the Picturesque and Sublime. A. Sources of the Picturesque. Introduction. 92. John Locke. from An Essay Concerning Human Understanding (1690). 93. William Temple. from "Upon the Gardens of Epicurus; or, of Gardening in the Year 1685" (1692). 94. John Vanbrugh. Letter to the Duchess of Marlborough (1709). 95. Anthony Ashley Cooper, Third Earl of Shaftesbury. from “The Moralists” (1709). 96. Joseph Addison. from The Spectator (1712). 97. Robert Castell. from The Villas of the Ancients Illustrated (1728). 98. Batty Langley. from New Principles of Gardening (1728). 99. Robert Morris. from Lectures on Architecture (1734–1736). 100. William Chambers. from Designs of Chinese Buildings (1757). Recommended Readings. B. Toward a Relativist Aesthetics. Introduction. 101. John Locke. from An Essay Concerning Human Understanding, fourth edition (1700). 102. Joseph Addison. from the Spectator (1712). 103. Jean Baptiste du Bos. from Critical Reflections on Poetry, Painting, and Music (1719). 104. Francis Hutcheson. from An Inquiry into the Original of our Ideas of Beauty and Virtue (1725). 105. George Berkeley. from the “Third Dialogue” of Alciphron (1732). 106. David Hume. from A Treatise of Human Nature (1739–40). 107. Allan Ramsey. from “A Dialogue on Taste” in The Investigator (1755). 108. Alexander Gerard. from An Essay on Taste (1756). 109. David Hume. from "Of the Standard of Taste" (1757). 110. Edmund Burke. from A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). 111. Edmund Burke. from A Philosophical Inquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). 112. Lord Kames. from Elements of Criticism (1762). 113. Robert and James Adam. from Preface to The Works in Architecture of Robert and James Adam (1773–78). C. Consolidation of Picturesque Theory. Introduction. 114. Thomas Whately. from Observations on Modern Gardening (1770). 115. Horace Walpole. from “The History of the Modern Taste in Gardening” (1771). 116. William Chambers. from A Dissertation on Oriental Gardening (1772). 117. William Gilpin. from Observations on the River Wye (1782). 118. Joshua Reynolds. from Discourses on Architecture (1786). 119. John Soane. from Plans, Elevations, and Sections of Buildings (1788). 120. Uvedale Price. from Essays on the Picturesque (1794). 121. Richard Payne Knight. from “Postscript” to The Landscape, second edition (1795). 122. Humphry Repton. from Sketches and Hints on Landscape Gardening (1795). 123. Uvedale Price. from "An Essay on Architecture and Buildings as connected with Scenery" (1798). 124. Richard Payne Knight. from An Analytical Inquiry into the Principles of Taste (1805). 125. John Soane. from Royal Academy Lectures on Architecture, V, VIII, and XI (1812–15). Part V: The Rise of Historicism in the Nineteenth Century. A. Challenges to Classicism in France, 1802–34. Introduction. 126. Jean-Nicolas-Louis Durand. from Précis de leçons d’architecture données à l’École Royale Polytechnique (1802). 127. A. C. Quatremère de Quincy. from De l’architecture égyptienne (1803). 128. Christian Ludwig Stieglitz. from Archaologie der Baukunst der Griechen und Römer (1801). 129. A. C. Quatremère de Quincy. from Le Jupiter olympien (1814). 130. Charles Robert Cockerell. from “On the Aegina Marbles” (1819). 131. William Kinnard. Annotations to Stuart and Revett’s The Antiquities of Athens, second edition (1825). 132. Otto Magnus von Stackelberg. from Der Apollotempel zu Bassae in Arcadien (1826). 133. Jacques Ignace Hittorff. from "De l'architecture polychrôme chez les Grecs" (1830). 134. Gottfried Semper. from Vorläufige Bemerkungen über bemalte Architectur und Plastik bei den Alten (1834). 135. Léon Vaudoyer. Excerpts from three letters of 1829, 1830, and 1831. 136. Émile Barrault. from Aux Artistes (1830). 137. Victor Hugo. from Nôtre-Dame de Paris (1832). 138. Gottfried Semper. from Vorläufige Bemerkungen über bemalte Architectur und Plastik bei den Alten (1834). 139. Léonce Reynaud. from “Architecture” in Encyclopédie nouvelle (1834). B. The Gothic Revival in Britain, Germany, and France. Introduction. 140. Horace Walpole. from Letter to H. Zouch (1759). 141. Horace Walpole. from A Description of the Villa of Horace Walpole at Strawberry Hill (1774). 142. Johann Wolfgang Goethe. from "Von deutscher Baukunst" (1772). 143. François René Chateaubriand. from Le génie du christianisme (1802). 144. Friedrich von Schlegel. from Briefen auf einer Reise durch die Niederlande, Rheingegenden, die Schweiz und einen Teil von Frankreich (1806). 145. Joseph Görres. from "Der Dom in Köln" (1814). 146. Georg Moller. from Denkmähler der detuschen Baukunst (1815–1821). 147. Thomas Rickman. from An Attempt to Discriminate the Styles of English Architecture (1817). 148. William Whewell. from Architectural Notes on German Churches (1830). 149. Robert Willis. from Remarks on the Architecture of the Middle Ages (1835). 150. Augustus Welby Pugin. from Contrasts (1836). 151. Augustus Welby Pugin. from The True Principles of Pointed or Christian Architecture (1842). 152. John Mason Neale and Benjamin Webb. from The Ecclesiologist (1841). 153. Victor Hugo. from Nôtre-Dame de Paris (1832). 154. Léonce Reynaud. from “Architecture,” Encyclopédie nouvelle (1834). 155. Eugène-Emmanuel Viollet-le-Duc. from “De la construction des édifices religieux en France” (1844). C. The German Style Debate. Introduction. 156. Immanuel Kant. from Kritik der Urtheilskraft (1790). 157. August Schlegel. from Vorlesungen über schöne Litteratur und Kunst (1801–02). 158. Friedrich Gilly. from “Einige Gedanken über die Notwendigkeit, die verschiedenen Theile der Baukunst . . . zu vereinen" (1799). 159. Karl Friedrich Schinkel. Literary fragments (c. 1805). 160. Georg Wilhelm Friedrich Hegel. from The Philosophy of Fine Art (1820s). 161. Friedrich von Gärtner. from Letter to Johann Martin von Wagner (1828). 162. Heinrich Hübsch. from Im welchem Style sollen wir bauen? (1828). 163. Rudolf Wiegmann. from "Bemerkungen über die Schrift: Im welchem Style sollen wir bauen?" (1829). 164. Karl Friedrich Schinkel. from Notes for a textbook on architecture (c.1830). 165. Karl Friedrich Schinkel. from Notes for a textbook on architecture (c.1835). 166. Rudolf Wiegmann. from "Gedanken über Entwickelung eines zeitgemässen nazionalen Baustyls” (1841). 167. Johann Heinrich Wolff. from "Einige Worte über die von Herrn Professor Stier bei der Architektenversammlung zu Bamberg zur Sprache gebrachten . . . architektonischen Fragen" (1845). 168. Eduard Metzger. from “Beitrag zur Zeitfrage: In welchem Stil man bauen soll!” (1845). 169. Carl Bötticher. from "Das Prinzip der hellenischen und germanischen Bauweise" (1846). D. The Rise of American Theory. Introduction. 170. Thomas Jefferson. Letters (1787, 1791, 1805, 1812). 171. Benjamin Latrobe. Letter to Thomas Jefferson (1807). 172. George Tucker. from "On Architecture" (1814). 173. William Strickland. from introductory lecture on architecture (1824). 174. Thomas U. Walter. from "Of Modern Architecture" (1841). 175. Arthur Delavan Gilman. from "Architecture in the United States" (1843). 176. Thomas Alexander Tefft. from "The Cultivation of True Taste" (1851). 177. Ralph Waldo Emerson. from "Self-Reliance" (1841). 178. Ralph Waldo Emerson. from "Thoughts on Art" (1841). 179. Horatio Greenough. from Letter to Washington Allston (1831). 180. Horatio Greenough. from "American Architecture (1843). 181. Horatio Greenough. from "Structure and Organization" (1852). 182. Henry David Thoreau. from his journal (January 11, 1852). 183. Andrew Jackson Downing. from A Treatise on the Theory and Practice of Landscape Gardening. 184. Andrew Jackson Downing. from Cottage Residences (1842). 185. Andrew Jackson Downing. from Hints to Persons about Building in the Country (1847). 186. Andrew Jackson Downing. from The Architecture of Country Houses (1850). 187. Calvert Vaux. from Villas and Cottages (1857). 188. James Jackson Jarves. from The Art-Idea (1864). Part VI: Historicism in the Industrial Age. A. The Battle of the Styles in Britain. Introduction. 189. Thomas Hope. from Observations on the Plans and Elevations Designed by James Wyatt (1804). 190. Thomas Hope. from An Historical Essay on Architecture (1835). 191. Thomas Leverton Donaldson. from "Preliminary Discourse before the University College of London" (1842). 192. John Ruskin. from The Seven Lamps of Architecture (1849). 193. James Fergusson, Augustus Welby Pugin, Edward Lacy Garbett, Robert Kerr. from The Builder (1850). 194. Edward Lacy Garbett. from Rudimentary Treatise on the Principles of Design in Architecture (1850). 195. John Ruskin. from “The Nature of Gothic” (1851–3). 196. Matthew Digby Wyatt. from The Industrial Arts of the Nineteenth Century (1851). 197. Richard Redgrave. from “Supplementary Report on Design” (1852). 198. Owen Jones. from The Grammar of Ornament (1856). 199. John Ruskin. from “The Deteriorative Power of Conventional Art over Nations” (1859). 200. Robert Kerr. “The Battle of the Styles,” from The Builder (1860). 201. James Fergusson. from History of the Modern Styles of Architecture (1862). 202. William Morris. Prospectus for Morris, Marshall, Faulkner and Company (1861). B. Rationalism, Eclecticism, and Realism in France. 203. Albert Lenoir and Léon Vaudoyer. from “Études d’architecture en France”(1844). 204. Eugène-Emmanuel Viollet-le-Duc. from “De la construction des édifices religieux en France” (1845). 205. César Daly. from "De la liberté dans l’art” (1847). 206. Léonce Reynaud. from Traité d'architecture (1850). 207. Eugène-Emmanuel Viollet-le-Duc. from “Architecture,” in Dictionnaire raisonné (1854). 208. Gustave Courbet. from “Statement on Realism” (1855). 209. Charles Baudelaire. from “The Painter of Modern Life” (1859). 210. Eugène-Emmanuel Viollet-le-Duc. from Entretiens sur l’architecture, Lecture VI (1859). 211. César Daly. from Revue générale, Vol. 21 (1863). 212. César Daly. from Revue générale, Vol. 23 (1866). 213. Bourgeois de Lagny. from “Salon de 1866”. 214. Eugène-Emmanuel Viollet-le-Duc. from “Style” in Dictionnaire raisonné (1866). 215. Eugène-Emmanuel Viollet-le-Duc. from Entretiens sur l’architecture, Lecture XII (1866). 216. Émile Zola. from Le ventre de Paris (1872). C. Tectonics and Style in Germany. 217. Karl von Schnaase. from Niederländische Briefe (1834). 218. Karl Bötticher. from Die Tektonik der Hellenen (1843). 219. Eduard van der Nüll. from “Andeutungen über die kunstgemässe Beziehung des Ornamentes zur rohen Form” (1845). 220. Heinrich Leibnitz. from Die struktive Element in der Architektur (1849). 221. Gottfried Semper. from Die Vier Elemente der Baukunst (1851). 222. Gottfried Semper. from Wissenschaft, Industrie und Kunst (1852). 223. Jacob Burckhardt. from Die Kultur der Renaissance in Italien (1860). 224. Jacob Burckhardt. from Die Geschichte der Renaissance in Italien (1867). 225. Gottfried Semper. from Der Stil in den technischen und tektonischen Künsten (1860). 226. Gottfried Semper. from Der Stil in den technischen und tektonischen Künsten (1860). 227. Rudolf Hermann Lotze. from Geschichte der Aesthetik in Deutschland (1868). 228. Gottfried Semper. from Über Baustyle (1869). 229. Richard Lucae. from “Über die Bedeutung und Macht des Raumes in der Baukunst” (1869). Index

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Book SynopsisA sharp and lively text that covers issues in depth but not to the point that they become inaccessible to beginning students, An Introduction to Architectural Theoryis the first narrative history of this period, charting the veritable revolution in architectural thinking that has taken place, as well as the implications of this intellectual upheaval. The first comprehensive and critical history of architectural theory over the last fifty years surveys the intellectual history of architecture since 1968, including criticisms of high modernism, the rise of postmodern and poststructural theory, critical regionalism and tectonics Offers a comprehensive overview of the significant changes that architectural thinking has undergone in the past fifteen years Includes an analysis of where architecture stands and where it will likely move in the coming years Trade Review"This book will provide a unique complement to several annotated anthologies covering this material. . . Recommended. Lower-level undergraduates through professionals/practitioners; general readers." (Choice, 1 October 2011) Table of ContentsList of Illustrations viii Prelude: The 1960s 1 Technology and Ecology 3 Social Underpinnings of Modernism 6 1968 11 Part One: 1970s 15 1 Pars Destruens: 1968–1973 17 Venturi and Scott Brown 18 Rossi and Tafuri 23 The Milan Triennale 27 The IAUS and the New York Five 30 2 The Crisis of Meaning 37 Semiotics and Architecture 39 Five on Five 43 Gray and White 45 Variations on a Theme 48 3 Early Postmodernism 53 The Language of Postmodernism 54 Consummation in Venice 57 European Counterpoints 59 4 Modernism Abides 65 The Chicago High-Rise 65 German Engineering 70 British Renaissance 74 Post-Metabolism in Japan 79 The Special Case of Alexander 85 Part Two: 1980s 89 5 Postmodernism and Critical Regionalism 91 Postmodernism Further Defined 91 Postmodernism Opposed 94 Critical Regionalism and Phenomenology 97 Mérida and Venice 102 6 Traditionalism and New Urbanism 108 The Prince of Architecture 108 The Paternoster Controversy 111 Toward a New Urbanism 115 7 Gilded Age of Theory 123 Poststructural Theory 123 Poststructural Architecture 129 Eisenman and Tschumi 131 8 Deconstruction 141 Postmodernism Undefined 142 Gehry 146 The 68ers Come of Age 149 “… a devious architecture …” 154 Part Three: 1990s and Present 159 9 Wake of the Storm 161 Fragments of Fragments 161 From Derrida to Deleuze 164 Geometry and Autonomy 167 The End of the Figure: Manipulated Grounds 171 Form without Rhetoric 174 10 Pragmatism and Post-Criticality 177 OMA 177 The Orange Revolution 185 Post-Criticality 192 11 Minimalisms 194 Materiality and Effects 195 Neo-modernism 205 Phenomenological Architecture 210 12 Sustainability and Beyond 215 The Green Movement 217 McDonough and Yeang 218 Green Urbanism 223 Biophilic Design 226 Neuroaesthetics 229 Notes 231 Acknowledgments 265 Index 266

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Book SynopsisAn Introduction to Architectural Theory is the first comprehensive and critical history of architectural theory over the last forty years.Trade Review"This book will provide a unique complement to several annotated anthologies covering this material. . . Recommended. Lower-level undergraduates through professionals/practitioners; general readers." (Choice, 1 October 2011)Table of ContentsList of Illustrations viii Prelude: The 1960s 1 Technology and Ecology 3 Social Underpinnings of Modernism 6 1968 11 Part One: 1970s 15 1 Pars Destruens: 1968–1973 17 Venturi and Scott Brown 18 Rossi and Tafuri 23 The Milan Triennale 27 The IAUS and the New York Five 30 2 The Crisis of Meaning 37 Semiotics and Architecture 39 Five on Five 43 Gray and White 45 Variations on a Theme 48 3 Early Postmodernism 53 The Language of Postmodernism 54 Consummation in Venice 57 European Counterpoints 59 4 Modernism Abides 65 The Chicago High-Rise 65 German Engineering 70 British Renaissance 74 Post-Metabolism in Japan 79 The Special Case of Alexander 85 Part Two: 1980s 89 5 Postmodernism and Critical Regionalism 91 Postmodernism Further Defined 91 Postmodernism Opposed 94 Critical Regionalism and Phenomenology 97 Mérida and Venice 102 6 Traditionalism and New Urbanism 108 The Prince of Architecture 108 The Paternoster Controversy 111 Toward a New Urbanism 115 7 Gilded Age of Theory 123 Poststructural Theory 123 Poststructural Architecture 129 Eisenman and Tschumi 131 8 Deconstruction 141 Postmodernism Undefined 142 Gehry 146 The 68ers Come of Age 149 “… a devious architecture …” 154 Part Three: 1990s and Present 159 9 Wake of the Storm 161 Fragments of Fragments 161 From Derrida to Deleuze 164 Geometry and Autonomy 167 The End of the Figure: Manipulated Grounds 171 Form without Rhetoric 174 10 Pragmatism and Post-Criticality 177 OMA 177 The Orange Revolution 185 Post-Criticality 192 11 Minimalisms 194 Materiality and Effects 195 Neo-modernism 205 Phenomenological Architecture 210 12 Sustainability and Beyond 215 The Green Movement 217 McDonough and Yeang 218 Green Urbanism 223 Biophilic Design 226 Neuroaesthetics 229 Notes 231 Acknowledgments 265 Index 266

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Book SynopsisThe Architect''s Brain: Neuroscience, Creativity, and Architecture is the first book to consider the relationship between the neurosciences and architecture, offering a compelling and provocative study in the field of architectural theory. Explores various moments of architectural thought over the last 500 years as a cognitive manifestation of philosophical, psychological, and physiological theory Looks at architectural thought through the lens of the remarkable insights of contemporary neuroscience, particularly as they have advanced within the last decade Demonstrates the neurological justification for some very timeless architectural ideas, from the multisensory nature of the architectural experience to the essential relationship of ambiguity and metaphor to creative thinking Trade Review"Hence these two books from the same publisher and by the same author, Harry Francis Mallgrave, sole writer of the former and co-author with David Goodman of the second book, make a valuable contribution to this growing field of knowledge." (Architectural Review, 1 July 2011) "Since I studied architecture ... I always heard the diatribe about if architecture is an art or a science, I personally believe is both. If you’re interested in both architecture and science be sure to grab a copy of this interesting book." (Eclectic Me Blog, April 2010)Table of ContentsIntroduction Part One: Historical Essays 1. The Humanist Brain (Alberti, Vitruvius, and Leonardo). 2. The Enlightened Brain (Perrault, Laugier, and Le Roy). 3. The Sensational Brain (Burke, Price, and Knight). 4. The Transcendental Brain (Kant and Schopenhauer). 5. The Animate Brain (Schinkel, Bötticher, and Semper). 6. The Empathetic Brain (Vischer, Wölfflin, and Göller). 7. The Gestalt Brain (The Dynamics of the Sensory Field). 8. The Neurological Brain (Hayek, Hebb, and Neutra). 9. The Phenomenal Brain (Merleau-Ponty, Rasmussen, and Pallasmaa). Part Two: Neuroscience and Architecture. 10. Anatomy: Architecture of the Brain. 11. Ambiguity: Architecture of Vision. 12. Metaphor: Architecture of Embodiment. 13. Hapticity: Architecture of the Senses. 14. Epilogue: The Architect's Brain. Endnotes. Bibliography. Index.

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Book SynopsisWhat is creativity? What is the relationship between work life and personal life? How is it possible to live truthfully in a world of contradiction and compromise? These deep and deeply personal questions spring to the fore in Thomas Yarrow's vivid exploration of the life of architects. Yarrow takes us inside the world of architects, showing us...Trade ReviewThere is a good deal that we can recognise—and take comfort from—in Yarrow's portrait. Much of this is in the charmingly ramshackle way we conduct ourselves. Yarrow reminds us why [architects] persist with this badly paid, insecure struggle of practice... as a way of being in the world and to help us understand our place in it. This is an unusually human book. -- Piers Taylor * Architecture Today *

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Book SynopsisWhat constitutes an archive in architecture? What forms does it take? What epistemology does it perform? What kind of craft is archiving? Crafting History provides answers and offers insights on the ontological granularity of the archive and its relationship with architecture as a complex enterprise that starts and ends much beyond the act of building or the life of a creator. In this book we learn how objects are processed and catalogued, how a classification scheme is produced, how models and drawings are preserved, and how born-digital material battles time and technology obsolescence. We follow the work of conservators, librarians, cataloguers, digital archivists, museum technicians, curators, and architects, and we capture archiving in its mundane and practical course. Based on ethnographic observation at the Canadian Centre for Architecture and interviews with a range of practitioners, including Álvaro Siza and Peter Eisenman, Albena Yaneva traces archivinTrade ReviewIt is a book you want to hold in your hands and keep in your collection after reading. * Arkitekturkultur *Overall, this is a rich and detailed study which is clearly of value to students of architecture, architectural history, anthropology and archival science. There is also something here for the museum scholar: the book points to the epistemic nature of collecting and, through its granular study of the processes that act upon and form these collections, reveals the interventions and mediations of individuals in the shaping of knowledge. For those working in and researching all types of collecting and memory institutions there is much here that can inform and provide new insights into how such work forms the basis of learning, scholarship and research. * Museum and Society *Crafting History is a meticulous and captivating study that makes a substantial methodological contribution and will resonate with students and scholars of architectural history and theory, institutions, the anthropology of knowledge, museum studies and related fields. Few scholars have studied with such proximity the tacit, practical systems of "minor" actors in architectural institutions. * Architectural Theory Review *Table of ContentsIntroduction: The Secret Life of Architectural Objects 1. Archive Fevers 2. Architecture and the "Fever" of Archiving 3. A Morning in the Vaults 4. Opening the Crates 5. Politics of Care 6. The Plot of Archiving 7. The Life of an Old Floppy Disk Conclusion: Collections as Sites of Epistemological Reshuffle

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Book SynopsisHow can architecture develop better aesthetic directions for the twenty-first-century built environment? Our world, increasingly defined by efficient but unconsidered architecture and cities, seems to be getting uglier. In On the Appearance of the World, Mark Foster Gage asks why. He imagines a future scenario where architectural design and ideas from aesthetic philosophy align toward the production of a built world that is more humane, habitable, beautiful, and just.

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Book SynopsisReyner Banham and the Paradoxes of High Tech reassesses one of the most influential voices in twentieth-century architectural history through a detailed examination of Banham's writing on High Tech architecture and its immediate antecedents. Taking as a guide Banham's habit of structuring his writings around dialectical tensions, Todd Gannon sheds new light on Banham's early engagement with the New Brutalism of Alison and Peter Smithson, his measured enthusiasm for the "clip-on" approach developed by Cedric Price and the Archigram group, his advocacy of "well- tempered environments" fostered by integrated mechanical and electrical systems, and his late- career assessments of High Tech practitioners such as Norman Foster, Richard Rogers, and Renzo Piano.Gannon devotes significant attention to Banham'slate work, including fresh archival materialsrelated to Making Architecture: The Paradoxes ofHigh Tech, the manu-script he left unfinished athis death in 1988. For the first time, readers will have access to Banham's previously unpublished draft introduction to that book.Trade Review"Reynam Banham and the Paradoxes of High Tech is a serious-minded book which rounds off Banham's career but also provides an introduction to his work. It is well-researched and well-written and if you are interested in good critical writing about architecture, it is a great place to start."--RIAS Quarterly "As such, Gannon's book is an encyclopedic recounting of the growth of England's architectural culture during Banham's purview. . . If one wishes to understand the gestation of this important movement in modern architecture, there are more revelations, more 'gotcha's, ' and more keen observations (with Gannon as guide) than one is likely to find in a decade-long subscription to Architectural Review. As a bonus, it's even fun to read!" --Architect's Newspaper

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Book SynopsisA well-illustrated, holistic overview of how American domestic spaces have changed over four hundred years, Experiencing American Houses encourages readers to think creatively about houses in terms of their function as opposed to their appearance. This captivating volume helps the reader step into the lived experience of the evolving American house: understanding, for example, why a nineteenth-century dining room might include a bed or why the kitchen as we know it did not evolve until the turn of the twentieth century. By carrying her study from the colonial period to the present, Elizabeth Collins Cromley makes the domestic spaces of the past feel like vital precursors to today's experience.Beginning with cooking spaces, Cromley examines how multi-use areas consolidated into dedicated rooms for cooking, from fires on an earthen floor to sleek modern spaces with twenty first-century appliances. Next, the author looks at ways social class, income, and local custom framed which kinds of spaces became suitable for socializing and entertaining, and what they should be called: sitting room, drawing room, hall, living room, family room, or parlor. Distinct from cooking spaces, Cromley discusses eating spaces, which morphed from multi-use areas to separate dining rooms and back again. The author covers spaces for sleeping, health, and privacy, as well as circulation—the ways that we move through a house—analyzing the functions of such little-studied features as hallways, back doors, and staircases. Finally, Cromley takes on the evolution of storage, which began mainly because of the need to store and preserve food. Clothing closets grew from oddly shaped afterthoughts to generous walk-ins, while increases in material wealth led to the need for storage outbuildings.This accessible volume, informed by up-to-date scholarship in vernacular architecture and disciplines far beyond it, provides students and readers necessary context to understand the development of the historic and contemporary houses they encounter.

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Book SynopsisPrecision is necessary in the field of architecture, and new technologies have increased demands for accuracy, particularly when the smallest errors can have outsized consequences. However, the importance of precision, or exactitude, has not received the consideration it merits. While themes of sustainability, performance, and formal innovation have been at the forefront of architectural scholarship for the past twenty years, this book moves beyond these concerns to explore the theoretical and practical demands exactitude makes on architecture as a field.The eleven essays collected here investigate the possibilities and shortcomings of exactitude and delve into current debates about the state of contemporary architecture as both a technological craft and artistic creation. Featuring new work by leading theorists, historians, editors, architects, and scholars, this volume brings theory and practice into insightful and productive conversations. In addition to the editors, contributors include Mark Wigley, Alejandro Zaera-Polo, Eric Höweler, Christopher Benfey, Sunil Bald, Ada Tolla and Giuseppe Lignano with Thomas de Monchaux, Alicia Imperiale, Francesca Hughes, Teresa Stoppani, and Cynthia Davidson.

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Book SynopsisFor the past 150 years, architecture has been a significant tool in the hands of city planners and leaders. In Creating Cities/Building Cities, Peter Karl Kresl and Daniele Ietri illustrate how these planners and leaders have utilized architecture to achieve a variety of aims, influencing the situation, perception and competitiveness of their cities. Whether the objective is branding, re-vitalization of the economy, beautification, development of an economic and business center, status development, or seeking distinction with the tallest building, distinctive architecture has been an essential instrument for those who manage the course of a city's development. Since the 1870s, and the reconstruction of Chicago following the Great Fire, architecture has been affected powerfully by advances in design, technology and materials used in construction. The authors identify several key elements in such a strategic initiative, and in the penultimate chapter examine several cases of cities that have ignored one or more of these elements and have failed in their attempt. A unique set of insights into this fascinating topic, this study will appeal to specialists in urban planning, economic geography, and architecture. Readers interested in urban development will also find its coverage accessible and enlightening.Trade Review'In the 21st century, cities will increasingly become the dominant centres of economic and social activity and interaction. Understanding how they evolve and develop will be of crucial importance to ensuring their long-term success and sustainability. This book is a very welcome addition to the literature that seeks to explain both the tangible and intangible factors underpinning effective urban development.'R --Robert Huggins, Cardiff University, UKTable of ContentsContents: 1. Introduction: Architecture and modern Cities PART I The Hard Side 2. Stimulating the Revival of the City 3. Establishing Business Center Status 4. Establishing Global City Status – the World’s Tallest Building 5. Creating Transformative Parks PART II The Soft Side 6. Establishing a ‘Brand’ or ‘Identity’ 7. Relating the City to the Nation 8. Attracting a Specific Social Cohort 9. Creating Community PART III Final thoughts 10. What Happens when a City Fails to Use Architecture Creatively? 11. Some Observations and Conclusions Bibliography Index

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Book SynopsisTo address this void, this book offers an interdisciplinary approach to survey the role of space in animation, including in creating humorous moments in early cartoon shorts, generating action and suspense in Japanese anime, and even stimulating erotic pleasure in pornographic Hentai.

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Book SynopsisEssays centred on the methods, pleasures, and pitfalls of architectural interpretation. Architecture affects us on a number of levels. It can control our movements, change our experience of our own scale, create a particular sense of place, focus memory, and act as a statement of power and taste, to name but a few. Yet the ways in which these effects are brought about are not yet well understood. The aim of this book is to move the discussion forward, to encourage and broaden debate about the ways in which architecture is interpreted, with aview to raising levels of intellectual engagement with the issues in terms of the theory and practice of architectural history. The range of material covered extends from houses constructed from mammoth bones around 15,000 years ago in the present-day Ukraine to a surfer's memorial in Carpinteria, California; other subjects include the young Michelangelo seeking to transcend genre boundaries; medieval masons' tombs; and the mythographies of early modern Netherlandish towns. Taking as their point of departure the ways in which architecture has been, is, and can be written about and otherwise represented, the editors' substantial Introduction provides an historiographical framework for, and draws out the themes and ideas presented in, the individual contributors' essays. Contributors: Christine Stevenson, T. A. Heslop, John Mitchell, Malcolm Thurlby, Richard Fawcett, Jill A. Franklin, StephenHeywood, Roger Stalley, Veronica Sekules, John Onians, Frank Woodman, Paul Crossley, David Hemsoll, Kerry Downes, Richard Plant, Jenifer Ní Ghrádraigh, Lindy Grant, Elisabeth de Bièvre, Stefan Muthesius, Robert Hillenbrand, AndrewM. Shanken, Peter Guillery.Trade ReviewFor its breadth of inquiry and variety of methodologies it is recommended for programs in architectural history. * ARLIS/NA REVIEWS *Will prove to be a seminal and enduringly valued addition to professional and academic reference collections. * MIDWEST BOOK REVIEW *Table of ContentsIntroduction - T A Heslop and Christine Stevenson Believing is Seeing: the natural image in late antiquity - John Mitchell Articulation as an expression of function in Romanesque architecture - Malcolm Thurlby Barrel-vaulted churches in late medieval Scotland - Richard Fawcett Augustinian and other canons' churches in Romanesque Europe: the significance of the aisleless cruciform plan - Jill A. Franklin Towers and radiating chapels in Romanesque architectural iconography - Stephen Heywood Diffusion, imitation and evolution: the uncertain origins of 'beakhead' ornament - Roger Stalley Architecture and pattern: the western façade of Lincoln Cathedral and Modernist reference points for its interpretation - Veronica Sekules Home sweet mammoth: neuroarchaeology and the origins of architecture - John Onians Constantine and Helena: the Roman in English Romanesque - T A Heslop For their monuments, look about you: medieval masons and their tombs - Francis Woodman Baxandall's bridge and Charles IV's Prague: an exercise in architectural intention - Paul Crossley Imitation as a creative vehicle in Michelangelo's art and architecture - David Hemsoll The 'façade problem' in Roman Churches c.1540-1640 - Kerry Downes Innovation and traditionalism in writings on English Romanesque - Richard Plant Why medieval Ireland failed to edify - Jenifer Ni Ghradaigh The Chapel of the Hospital of St-Jean at Angers: acta, statutes, architecture and interpretation - Lindy Grant Sealed architecture: city seals, architecture and urban identity in the Northern Netherlands, 1200-1700 - Elisabeth de Bievre Style and geography: struggles for identification in the later nineteenth century - Stefan Muthesius The Dome of the Rock: from medieval symbol to modern propaganda - Towards a cultural geography of modern memorials - Andrew Shanken Bicycle sheds revisited, or: why are houses interesting? - Peter Guillery

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Book SynopsisDoes the recent explosion of the architectural manifesto signal a new urgency of the form, or does it represent a hopeless effort to resuscitate something that has outlived its useful lifespan? After the ManifestoA brings together architects and scholars to revisit the past, present and future of the manifesto. In what ways have manifestos transformed the field over the last 50 years, and in what ways has the manifesto itself been transformed by new modes of communication? Authors include Ruben Alcolea, Craig Buckley, Beatriz Colomina, Carlos Labarta, Felicity D. Scott, Bernard Tschumi, Anthony Vidler, Enrique Walker, and Mark Wigley.Table of ContentsContents:Craig Buckley (Yale University) IntroductionAnthony Vidler (Brown University) From Manifesto to DiscourseBeatriz Colomina (Princeton University) Manifesto ArchitectureRuben A. Alcolea and Hector Garcia-Diego (Universidad de Navarra) Anonymous Manifestos: The Eye of the ArchitectJose Manuel Pozo (Universidad de Navarra) The Alhambra Palace, the Katsura of the West: A Stone ManifestoCarlos Labarta and Jorge Tarrago (Universidad de Navarra) The Last Manifesto: The Permanence of Humanity and the Eventuality of GeniusesFelicity Scott (Columbia University) TournamentsEnrique Walker (Columbia University) Retroactive ManifestosMark Wigley (Columbia University) Manifesto FeverBernard Tschumi (Columbia University) Architectural Manifestos

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Book Synopsis"Trace elements" are minerals that exist in minute quantities necessary for the growth and development of cells. Exposure to excessive quantities is toxic, but without them our bodies would atrophy. They are the crystalline structures that support life. Over the past decade, Aranda\Lasch has focused obsessively on these structures as a form of both organization and expression for architecture. Their projects explore the interplay between rule-based systems and human ritual. In scale, this work lies somewhere between furniture and building, so that what is built, drawn, and projected gives human measure to procedural thinking. Published on the occasion of the studio's exhibition "Meeting the Clouds Halfway" at the Museum of Contemporary Art (MOCA) Tucson, this book is a collection of recent explorations into modularity, craft, pattern, rhythm, material, and memory. Trace Elements documents a wide-ranging and yet sharply focused body of work from an office dedicated both to intellectual exploration and the honing of a distinct design sensibility.

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Book SynopsisBuilding Cultures Valparaiso takes a critical look at how pedagogy, practice and poetry are brought together at one of the most influential schools of architecture of the past 50 years: the School of Architecture and Design of the Pontifical Catholic University of Valparaiso in Chile. The editors have brought together research on the origins of the school, on the role that poetry plays in teaching and practice, and on the school’s larger historical place in the context of a global out-break of radical architectural teaching in the late 1960’s. Contributors come from both within and outside of the school and include Beatriz Colomina, David Jolly Monge and Gerald Wildgruber. In addition to original research, Building Cultures Valparaiso includes a collection of student drawings from the early years of the Valparaiso School’s Open City, a 270 hectare stretch of land along the Pacific Ocean that serves as a laboratory for living and working together. These drawings provide an insight into how the philosophy of the school translates into the making of architecture. Through its exploration of the Valparaiso School’s radical approach to teaching and making, Building Cultures Valparaiso serves as a guide for all those interested in an experimental vision of architecture. Table of ContentsIntroduction Sony Devabhaktuni 1. El camino no es el camino: Some Reflections on the Valparaíso School and its Architectural Teaching Patricia Guaita and Cornelia Tapparelli 2. Precarious Middle Ground: Some Remarks on the Presence of Hölderlin in Writings Associated with the Open City Gerald Wildgruber 3. A Pursuit for a `Change of Life:’ Pedagogical Experiences, Poetic Occupations and Historical Frictions Ignacio González Galán 4. Radical Pedagogies: Notes Towards a Taxonomy of Global Experiments Beatriz Colomina, Ignacio González Galán, Evangelos Kotsioris and Anna-Maria Meister 5. Open City Notebook Sony Devabhaktuni 6. 8 Projects in the Open City, 1973 David Jolly Monge

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Book Synopsis'City Riffs' traces the changing perspectives of urban design within an ever-changing global context. Moving between sixteen cities, the book also considers trans-disciplinary aspects of urbanism; formal and informal growth in Kumasi and Caracas, post-colonial structures in New Delhi and Prague, post-urban phenomena in Detroit and Brussels; cultural transitions in Antwerp and Salzburg; the changing nature of place in Seoul and Mostar; and new ecological realities in New York and Rome. Urbanism is viewed as the production of space-integrating aspects of design, ecology, and engineering, as well as other influences on urban cognition such as social, economical, and psychological interactions. As it covers a wide range of places and methods, this book will be an asset to anyone who works on, lives in, or thinks about cities. AUTHOR: Richard Plunz is Professor of Architecture and Director of the Earth Institute's Urban Design Lab at Columbia University, where he has also chaired the Division of Architecture and directed the Urban Design Program at the Graduate School of Architecture, Planning and Preservation. SELLING POINTS: . Interlinks various disciplines of urbanism 30 illustrations

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Book SynopsisConstructed Narratives brings together essays and several recently completed buildings by David Adjaye, in the United States and elsewhere. In the essays, Adjaye shows how his approach to the design of temporary pavilions and furniture, private houses, and installations at the 2015 Venice Biennale feeds into his designs for public buildings. Other essays discuss his engagement with geography, the urban environment, his approach to materiality, and architectural types. The presented projects include two public libraries and the National Museum of African American History and Culture, all in Washington D.C., a residential mixed-use building in New York, and a hybrid art-retail building in Beirut. Two of Adjaye's current projects are also included.

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Book SynopsisDie Architektur- und Planungstheorie ist das Reflexionsmedium, in dem Geplantes und Gebautes untersucht und kritisch nachvollzogen wird. Aus diesen Erkenntnissen soll Orientierungswissen für künftiges Planen und Bauen gewonnen werden, nicht zuletzt vor dem Hintergrund sich verändernder gesellschaftlicher Anforderungen. Ziel ist dabei, einen theoretisch fundierten Beitrag für die Berufspraxis zu leisten. Als thematischer Leitfaden wird in diesem Buch das städtische Wohnen in Europa gewählt. Dabei werden Theorien, Positionen und exemplarische Projekte, die die Entwicklung der Städte seit dem Industriezeitalter geprägt haben, in ihren jeweiligen geschichtlichen Zusammenhängen analysiert. Aktuelle Debatten und innovative Lösungsansätze werden auf ihre Zukunftsfähigkeit hin kritisch reflektiert.Table of ContentsDie bürgerliche Wohnform als sozial-räumliches Modell - Die Theorie der funktionalen Stadt - Die Suche nach zukunftsfähigen Wohnformen - Transparenz in der Architektur - Städtische öffentliche Räume: Konzeption und soziale Nutzung - Handlungsperspektiven

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Book SynopsisThe History of Chinese Gardens.- The Distribution of Chinese Gardens.- Two Philosophies and Two Approaches.- The Architectural Characteristics of Gardens.- The Quest for Yijing Aesthetic Conception.- The Needs for Indoor and Outdoor Activities.- From Courtyards to Imperial Gardens.- The Inward and Outward.- To View and Be Viewed.- Composition of the Dominant and Subordinate.- The Contrast Between Different Spaces.- Concealment and Revelation.- Leads and Hints.- Density and Spacing.- Undulation and Layering for Depth.- The Tangible and the Intangible.- Twists and Turns.- Staggered Levels of Scenery.- Look Upwards and Look Downwards.- The Interaction and Layers of Space.- Spatial Sequences.- The Planning of Rockeries.- The Treatment of Water.- The Arrangement of Plants.- Garden South and North Stylistic Difference.

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Book SynopsisIn this vibrant cultural history of the city, Joseph Rykwert explores the great cities of the modern world, examining their fabric and assessing how successfully they have met the needs of their inhabitants. From the teeming city centres of the industrial revolution to the exclusive gated suburbs of the 21st century, from the Parisian boulevards of Haussmann to the 'green' architecture of Emilio Ambasz, Rykwert charts the complex story of the growth of the city,setting architectural development firmly within a political, economic, social, and cultural context.Trade Reviewrich in detail, entertaining to read and provocative in its conclusions * Christopher Hirst, Independent *a superb meditation...and a fascinating narrative * Steven Poole, The Guardian *Table of ContentsFinding Some Place in All the Space ; 1. How We Got There ; 2. First Aid ; 3. House and Home ; 4. Style, Type, and Urban Fabric ; 5. Flight from the City: Lived Space and Virtual Space ; 6. The Suburbs and the New Capitals ; 7. The Heart of the City and the Capital of a Globe ; 8. For the New Millennium? ; Notes ; Bibliography ; Index

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Book SynopsisThis book poses spatial violence as a constitutive dimension of architecture and its epistemologies, as well as a method for theoretical and historical inquiry intrinsic to architecture; and thereby offers an alternative to predominant readings of spatial violence as a topic, event, fact, or other empirical form that may be illustrated by architecture. Exploring histories of and through architecture at sites across the globe, the chapters in the book blur the purportedly distinctive borders between war and peace, framing violence as a form of social, political, and economic order rather than its exceptional interruption. Regarding space and violence as co-constitutive, the book's collected essays critique modernization and capitalist accumulation as naturalized modes for the extraction of violence from everyday life. Focusing on the mediation of violence through architectural registers of construction, destruction, design, use, representation, theory, and history, the book suggests Table of Contents1. Spatial Violence 2. On "Revolutionary Vandalism" 3. Architecture During Wartime: The Mostra d’Oltremare and Esposizione Universale di Roma 4. Sentenced: Architecture of Solitary Confinement 5. The Economy of Fear: Oscar Newman Launches Crime Prevention through Urban Design (1969 – 197x) 6. New Belgrade After 1999: Spatial Violence as De-Socialisation, De-Romanisation, and De-Historisation 7. Mud, Dust, and Marouge´: Precarious Construction in a Congolese Refugee Camp 8. Encampments: Spatial Taxonomies of Sri Lanka’s Civil War

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a huge range and FREE tracked UK delivery on ALL orders.

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