Bringing together case studies ranging across the globe, including the US-Mexico borderlands, the Calais encampment in France, refugee camps in Kenya, Uganda and Bangladesh and contested 'informal' enclaves and communities in the cities of India, China, Brazil, Nigeria and South Africa, this book challenges current ways of thinking about the governance of human settling, mobility, and placemaking. Together, the 15 essays question the validity of the conventional hegemonic divisions of Global North vs. Global South and 'formal' vs. 'informal', in terms of geographic presence, transborder performances, and the ideological inter-dependence of Northern and Southern spaces, spatial practices and the uniformity of authoritative enforcements. The book, whose authors themselves come from all over the world, uses 'Global South' as a methodological apparatus to ask the 'Southern' question of settling and unsettling across the globe. Crucially, the studies reveal the sentiments, resourcefulness and the agency of those positioned by the powerful within the dichotomies of formal/informal, legitimate/ illegal, privileged/marginalized; etc., who are traditionally identified within the dominant development discourse as mere numbers or designated by intervening institutions as helpless recipients. By focusing on hitherto invisible events and untold stories of adaptation, negotiation and contestation by people and their communities, this volume of essays takes the ongoing North-South debate in new directions and opens up to the reader's fresh areas of inquiry. It will be of interest to researchers and students of architecture, planning, politics and sociology, as well as built environment professionals.

Originally published in 2019, this book provides a comprehensive account of a formative historical period, uniquely describing Renaissance architecture as the physical manifestation of political and economic change. The book illustrates how shifts in architectural style and design were paralleled with Northern and Central Italy's external and internal conflicts, the evolution of urban and regional government, and economic and demographic growth. Covering the full extent of the Renaissance period, Balchin charts the era's medieval roots and its transformation into Mannerist and Baroque tendencies. He demonstrates how developments in architecture and planning were inextricably linked to political and economic power, and how these relationships shifted from city to city over time.

Architectural Type and Character provides an alternative perspective to the current role given to history in architecture, reunifying architectural history and architectural design to reform architectural discourse and practice. Historians provide important material for appreciating buildings and guiding those who produce them. In current histories, a building is the product of a time, its form follows its function, irresistible influences produce it, and style, preferably novel, is its most important attribute. This book argues for an alternative. Through a two-part structure, the book first develops the theoretical foundations for this alternative history of architecture. The second part then provides drawings and interpretations of over one hundred sites from different times and places. Architectural Type and Character: A Practical Guide to a History of Architecture is an excellent desk reference and studio guide for students and architectures alike to understand, analyze, and create buildings.

Emerging from the challenge to reconstruct sonic and spatial experiences of the deep past, this multidisciplinary collection of ten essays explores the intersection of liturgy, acoustics, and art in the churches of Constantinople, Jerusalem, Rome and Armenia, and reflects on the role digital technology can play in re-creating aspects of the sensually rich performance of the divine word. Engaging the material fabric of the buildings in relationship to the liturgical ritual, the book studies the structure of the rite, revealing the important role chant plays in it, and confronts both the acoustics of the physical spaces and the hermeneutic system of reception of the religious services. By then drawing on audio software modelling tools in order to reproduce some of the visual and aural aspects of these multi-sensory public rituals, it inaugurates a synthetic approach to the study of the premodern sacred space, which bridges humanities with exact sciences. The result is a rich contribution to the growing discipline of sound studies and an innovative convergence of the medieval and the digital.

Nation-states have long used representational architecture to create symbolic identities for public consumption both at home and abroad. Government buildings, major ensembles and urban plans have a visibility that lends them authority, while their repeated portrayals in the media cement their image as icons of a shared national character. Existing in tandem with this official self, however, is a second, often divergent identity, represented by the vast realm of domestic space defined largely by those who occupy it as well as those with a vested interest in its cultural meaning. Using both historical inquiry and visual, spatial and film analysis, this book explores the interaction of these two identities, and its effect on political control, class status, and gender roles. Conflicted Identities examines the politicization of both public and domestic space, especially in societies undergoing rapid cultural transformation through political, social or economic expansion or restructuring, when cultural identity is being rapidly "modernized", shifted, or realigned to conform to new demands. Using specific examples from a variety of national contexts, the book examines how vernacular housing, legislation, marketing, and media influence a large, but often underexposed domestic culture that runs parallel to a more publicly represented one. As a case in point, the book examines West Germany from the end of World War II to the early 1970s to probe more deeply into the mechanisms of such cultural dichotomy. On a national level, post-war West Germany demonstratively rejected Nazi-era values by rebuilding cities based on interwar modernist tenets, while choosing a decidedly modern and transparent architecture for high-visibility national projects. In the domestic realm, government, media and everyday citizens countered this turn to state-sponsored modernism by embracing traditional architectural aesthetics and housing that encouraged patriarchal family structures. Written for readers interested in cultural theory, history, and the politics of space as well as those engaged with architecture and the built environment, Conflicted Identities provides an engaging new perspective on power and identity as they relate to architectural settings.

The presentation of bodies in pain has been a major concern in Western art since the time of the Greeks. The Christian tradition is closely entwined with such themes, from the central images of the Passion to the representations of bloody martyrdoms. The remnants of this tradition are evident in contemporary images from Abu Ghraib. In the last forty years, the body in pain has also emerged as a recurring theme in performance art. Recently, authors such as Elaine Scarry, Susan Sontag, and Giorgio Agamben have written about these themes. The scholars in this volume add to the discussion, analyzing representations of pain in art and the media. Their essays are firmly anchored on consideration of the images, not on whatever actual pain the subjects suffered. At issue is representation, before and often apart from events in the world. Part One concerns practices in which the appearance of pain is understood as expressive. Topics discussed include the strange dynamics of faked pain and real pain, contemporary performance art, international photojournalism, surrealism, and Renaissance and Baroque art. Part Two concerns representations that cannot be readily assigned to that genealogy: the Chinese form of execution known as lingchi (popularly the "death of a thousand cuts"), whippings in the Belgian Congo, American lynching photographs, Boer War concentration camp photographs, and recent American capital punishment. These examples do not comprise a single alternate genealogy, but are united by the absence of an intention to represent pain. The book concludes with a roundtable discussion, where the authors discuss the ethical implications of viewing such images.

Until recently the impact of the Lutheran Reformation has been largely regarded in political and socio-economic terms, yet for most people it was not the abstract theological debates that had the greatest impact upon their lives, but what they saw in their parish churches every Sunday. This collection of essays provides a coherent and interdisciplinary investigation of the impact that the Lutheran Reformation had on the appearance, architecture and arrangement of early modern churches. Drawing upon recent research being undertaken by leading art historians and historians on Lutheran places of worship, the volume emphasises often surprising levels of continuity, reflecting the survival of Catholic fixtures, fittings and altarpieces, and exploring how these could be remodelled in order to conform with the tenets of Lutheran belief. The volume not only addresses Lutheran art but also the way in which the architecture of their churches reflected the importance of preaching and the administration of the sacraments. Furthermore the collection is committed to extending these discussions beyond a purely German context, and to look at churches not only within the Holy Roman Empire, but also in Scandinavia, the Baltic States as well as towns dominated by Saxon communities in areas such as in Hungary and Transylvania. By focusing on ecclesiastical 'material culture' the collection helps to place the art and architecture of Lutheran places of worship into the historical, political and theological context of early modern Europe.

In The Rise and Fall of American Art, 1940s-1980s, Catherine Dossin challenges the now-mythic perception of New York as the undisputed center of the art world between the end of World War II and the fall of the Berlin Wall, a position of power that brought the city prestige, money, and historical recognition. Dossin reconstructs the concrete factors that led to the shift of international attention from Paris to New York in the 1950s, and documents how 'peripheries' such as Italy, Belgium, and West Germany exerted a decisive influence on this displacement of power. As the US economy sank into recession in the 1970s, however, American artists and dealers became increasingly dependent on the support of Western Europeans, and cities like Cologne and Turin emerged as major commercial and artistic hubs - a development that enabled European artists to return to the forefront of the international art scene in the 1980s. Dossin analyses in detail these changing distributions of geopolitical and symbolic power in the Western art worlds - a story that spans two continents, forty years, and hundreds of actors. Her transnational and interdisciplinary study provides an original and welcome supplement to more traditional formal and national readings of the period.

The book presents a broad panoramic overview of church architecture in the Russian North between the fourteenth and nineteenth centuries. While it is inevitably overshadowed by the imperial splendour of the country's capital cities, this unique phenomenon is regarded as the most distinctive national expression of traditional Russian artistic culture and at the same time as a significant part of humanity's worldwide architectural heritage. The chief intention of the book is to present the regionally specific features of the wooden churches of the Russian North, which vary from area to area for local natural or historical reasons. This approach touches upon the very important questions of the typology and classification of the multiplicity of architectural forms. The "regional view" entails giving clear definitions of the ambiguous terms "architectural school" and "tradition", explaining the origins and shaping impulses for the different regional clusters of objects. Structurally the book presents a history of the development of wooden church architecture in the Russian North and then follows the key points of the mediaeval Russian expansion along the waterways from Novgorod into the North - he Svir' River, Lake Onego, the town of Kargopol' and the River Onega, the White Sea, the Rivers Dvina, Pinega and Mezen' - those areas that still retain the most splendid pieces of Russian regional wooden church architecture. The study is based on field research and provides an up-to-date, multi-faceted view of Russian wooden architecture.

Architecture is conventionally seen as being synonymous with building. In contrast, this book introduces and defines a new category - the unbuildable. The unbuildable involves projects that are not just unbuilt, but cannot be built. This distinct form of architectural project has an important and often surprising role in architectural discourse, working not in opposition to the buildable, but frequently complementing it. Using well-known examples of early Soviet architecture - Tatlin's Tower in particular - Nerma Cridge demonstrates the relevance of the unbuildable, how it relates to current notions of seriality, copying and reproduction, and its implications for contemporary practice and discourse in the computational age. At the same time it offers a fresh view of our preconceptions and expectations of early Soviet architecture and the Constructivist Movement.

This edited collection re-examines the relationship between art and the sea, reflecting growing interest in the intersections between art and maritime history. Artists have always been fascinated by and drawn to the sea and this book considers some of the themes and approaches in art that have evolved as a result of this captivation. The chapters consider how an examination of art can provide new insights into existing knowledge of port and maritime history, and are representative of a 'cultural turn' in port and maritime studies, which is becoming increasingly visible. In Art and the Sea, multiple perspectives are offered as a result of the contributors' individual positions and methodologies: some museological, others art historical or maritime-historical. Each chapter proposes a new way of building upon available interpretations of port and maritime history: whether this be to reject, support or reconsider existing knowledge. The book as a whole is a timely addition, therefore, to the developing body of revisionist texts in port and maritime history. The interdisciplinary nature of the volume relates to a current trend for interdisciplinarity in art history and will appeal to those with an interest in art history, geography, sociology, history and transport / maritime studies.

This book is a theoretical examination of the relationship between the face, identity, photography, and temporality, focusing on the temporal episteme of selfie practice. Claire Raymond investigates how the selfie's involvement with time and self emerges from capitalist ideologies of identity and time. The book leverages theories from Katharina Pistor, Jacques Lacan, Roegnvaldur Ingthorsson, and Hans Belting to explore the ways in which the selfie imposes a dominant ideology on subjectivity by manipulating the affect of time. The selfie is understood in contrast to the self-portrait. Artists discussed include James Tylor, Shelley Niro, Ellen Carey, Graham MacIndoe, and LaToya Ruby Frazier. The book will be of interest to scholars working in visual culture, history of photography, and critical theory. It will also appeal to scholars of philosophy and, in particular, of the intersection of aesthetic theory and theories of ontology, epistemology, and temporality.

A radically new interpretation of Picasso's life and work by an important Jungian scholar, The Psychological Roots of Modernism is an exciting contribution to the fields of both Jungian psychology and cultural criticism.All of Picasso's major works, from the Blue period masterpieces to the abstractions of mature Cubism, are examined as part of a single narrative which directly challenges our assumptions, and the views of a number of prominent art historians, and provides an entirely new perspective on the signature achievements of the modernist movement. Beginning with Picasso's first months in Paris, the author shows how Picasso's art evolved as a hero's journey, involving encounter with the unconscious, the emergence of a strengthened ego, and the eventual balance of the ego and the unconscious which attained visible expression in the forms of Cubism. Through the Jungian framework, the reader is able to understand how not only Picasso's art, but his relations to his mistress and colleagues, his changing lifestyle and work habits, and his attraction to major Modernist figures like Rousseau and Cezanne were expressions of this psychological transformation. While using Jung to illuminate Picasso, The Psychological Roots of Modernism also employs Picasso to illuminate Jung, providing the clearest and most compelling support for the bedrock principles of analytical psychology. The book's powerful application of Jung's psychology and its radically new perspectives on Picasso's art make it essential reading for students in the fields of art history and Freudian and Jungian psychology.

Painting the Bible is the first book to investigate the transformations that religious painting underwent in mid-Victorian England. It charts the emergence of a Protestant realist painting in a period of increasing doubt, scientific discovery and biblical criticism. The book analyzes the position of religious painting in academic discourse and assesses the important role Pre-Raphaelite work played in redefining painting for mid-Victorian audiences. This original study brings together a wide range of material from high art and popular culture. It locates the controversy over the religious works of the Pre-Raphaelite Brotherhood in debates about academicism, revivalism and caricature. It also investigates William Holman Hunt's radical, orientalist-realist approach to biblical subject matter which offered an important updating of the image of Christ that chimed with the principles of liberal Protestantism. The book will appeal to scholars and students across disciplines such as art history, literature, history and cultural studies. Its original research, rigorous analysis and accessible style will make it essential reading for anyone interested in questions of representation and belief in mid-Victorian England.

Time Frames provides a reconnaissance on the conservation rules and current protection policies of more than 100 countries, with particular attention to the emerging nations and twentieth-century architecture. The contributions illustrate the critical issues related to architectural listings, with a brief history of national approaches, a linkography and a short bibliography. The book also provides a short critical lexicography, with 12 papers written by scholars and experts including topics on identities, heritages, conservation, memories and the economy. By examining the methods used to designate building as heritage sites across the continents, this book provides a comprehensive overview of current protection policies of twentieth-century architecture as well as the role of architectural history.

This textbook introduces design students to key principles of three-dimensional form, bridging aesthetics and practical design objectives. It explores how we see and what it is that characterises visually appealing and satisfactory design. Written by an experienced designer, educator and researcher, The Aesthetics of Industrial Design equips students with the knowledge and understanding of how aesthetically superior design is distinct from lesser work. It explains the key principles and concepts they can incorporate into their own designs, encourages readers to investigate and experiment with real design problems and enables them to verbally communicate their design intentions. The book prompts readers to critically reflect on their work and surroundings. Through numerous clear examples and illustrated case studies, which are guided by cognitive science and the application of aesthetic theory, the book brings together the basic aspects of design as form-giving. It explores the balance of function, material and appearance in detail and explains the reasons for common aesthetic faults and how to avoid them. Aimed at undergraduate- and postgraduate-level students within the design fields, this book reveals the secrets to aesthetically successful products that readers can take from education into future practice.

Originally published in 1995, this book unravels the history of the 'temporary bungalow' and shows that perhaps it was more a question of providing a new peace-time product for factories than a means of providing accommodation for the homeless. Built in a period of housing history which remains fascinating for architects and planners and admired by some of their first occupants but berated by others, those prefabs remaining today are subject to preservation orders but also perhaps offer a solution to the ongoing housing crisis in the UK. The book includes chapters on the development of the prefab house in the UK; comparisons with temporary housing programmes in the USA, Sweden and Germany; political and economic considerations to the UK Temporary Housing Programme and a discussion of the design of the Arcon, Uni-Seco, Tarran and Aluminium Temporary Bungalows.

Villard's Legacy is in memory of the celebrated iconoclastic historian, Jean Gimpel, and represents a fundamental contribution to the new AVISTA series with Ashgate Publishing. AVISTA was the brainchild of Gimpel, a genius at making the right people meet to advance knowledge through a confluence of ideas drawn equally from the practical and scholarly domains. Sixteen papers and a tribute to Gimpel underscore this confluence of technology, science and art within medieval culture. Appropriately, six papers offer new interpretations on aspects of Villard de Honnecourt's portfolio, which Gimpel rightly recognized and promoted as a unique and precious record of pre-modern technology and culture. This thirteenth-century manuscript is now known to a wider public as the earliest testimony left by a master builder in Gothic Europe. Of particular significance, for the first time in eight centuries, a Compagnon du Devoir, initiated in the same oral tradition as Villard, opens the door to interpreting these remarkable drawings. Three papers address previously ignored aspects in the construction of French and English Gothic churches, from the engineering of aerodynamic spires, to the elastic materials of vault webbing, to the social conventions of formal design. Three other contributors treat essential elements of a broader technological culture, such as the horse harness and the minting of coins, as well as the applicability of medieval technology to the modern world, in particular third world countries, a project pioneered by Gimpel. Four papers conclude the volume by treating the sciences of measure and their cultural expression in medieval Europe, embracing both the concepts of space and time, geometry as a mathematical discipline, and the graphic expression of scientific data. These interdisciplinary studies are comprehensive in chronological and geographic range, extending from the 8th to 15th centuries, from Ireland across Europe.

A beautifully designed, full-color collection of paper dolls created by Zelda Fitzgerald, lovingly compiled by her granddaughter, Eleanor Lanahan. Born in Montgomery, Alabama, Zelda Sayre Fitzgerald has long been an American cultural icon. A Southern belle turned flapper, Zelda was talented in dance, painting, and writing but lived in the shadow of her writer husband F. Scott Fitzgerald's success. The golden couple of the Jazz Age, Zelda and her husband moved around--from hotels to rented villas to apartments in Paris--and Zelda always brought along her paints. Few people know she painted at all, and fewer still know she made paper dolls. But throughout her life, Zelda created dolls, whenever she could, in private. By design, paper dolls are delicate, fragile, and destined for destruction at the hands of children. Zelda's dolls began as playthings for her daughter, Scottie, born in 1921. Fortunately, Zelda continued to make figures after Scottie outgrew them, first of their family and then of storybook characters--lavish, graceful, bold figures. These unique characters were a portable troupe, a colorful paper caravan that travelled inside her luggage. Zelda chose subjects she relished: society figures of the French Court, or Red Riding Hood's predatory wolf, as vivacious as the girl. Whether they are cardinals, kings, or bears, the dolls are fashionably attired in ball gowns, armor, and capes. A gorgeous and unique keepsake and a perfect gift for book and art lovers, this delightful collection of Zelda's paper dolls offers an intimate peek into the life of one of the Lost Generation's most fascinating creative artists.

Emphasizing the diversity of twentieth-century collage practices, Rona Cran's book explores the role that it played in the work of Joseph Cornell, William Burroughs, Frank O'Hara, and Bob Dylan. For all four, collage was an important creative catalyst, employed cathartically, aggressively, and experimentally. Collage's catalytic effect, Cran argues, enabled each to overcome a potentially destabilizing crisis in representation. Cornell, convinced that he was an artist and yet hampered by his inability to draw or paint, used collage to gain access to the art world and to show what he was capable of given the right medium. Burroughs' formal problems with linear composition were turned to his advantage by collage, which enabled him to move beyond narrative and chronological requirement. O'Hara used collage to navigate an effective path between plastic art and literature, and to choose the facets of each which best suited his compositional style. Bob Dylan's self-conscious application of collage techniques elevated his brand of rock-and-roll to a level of heightened aestheticism. Throughout her book, Cran shows that to delineate collage stringently as one thing or another is to severely limit our understanding of the work of the artists and writers who came to use it in non-traditional ways.

This book examines and defines the functions of towns in Roman Britain and applies the definition so formed to Romano-British sites. It considers the towns' foundation, political status, development and decline. The book illustrates where possible both the individual characters and surroundings.

There is always another old dress lurking around the corner, waiting to be "rescued", says Kristina Harris. A cornucopia of 403 full-color photographs, of fun, sophisticated, frivolous, and glamorous fashions on live models include rich satin evening gowns, fun flapperish beaded dresses, sleek and classic suits, knickered and skirted bathing suits, distinctive cloche hats, beaded bags, elaborate shoes, and a splendid host of accessory items. From whimsical anecdotes to wonderful historical details that help bring the era alive, this book conveys a vivid picture of the women of Jazz and Big Band era. Garnish this with specific and sound advice on using style, construction, and other details to value, identify, date, and further enhance items in your collection. A value guide is included to help experienced collectors and novices alike as they search for new discoveries. For everyone who has admired the fashions of the 20s, 30s and 40s, this book will be treasured possession.

This book argues that the provenance of early modern and medieval objects from Islamic lands was largely forgotten until the "long" eighteenth century, when the first efforts were made to reconnect them with the historical contexts in which they were produced. For the first time, these Islamicate objects were read, studied and classified - and given a new place in history. Freed by scientific interest, they were used in new ways and found new homes, including in museums. More generally, the process of "rediscovery" opened up the prehistory of the discipline of Islamic art history and had a significant impact on conceptions of cultural boundaries, differences and identity. The book will be of interest to scholars working in the history of art, the art of the Islamic world, early modern history and art historiography.

Displaying the Ideals of Antiquity investigates the study and display of ancient sculpture from archaeological, art historical, and museum studies perspectives. Ancient sculptures not only give us knowledge about ancient Greek and Roman pasts, but they also mediate ideals that inform modern perceptions of antiquity. This book analyzes how an art historical tradition establishes and preserves an idealized view of antiquity in classical archaeology and in museum exhibitions. The authors investigate how these ideals are kept alive today-an approach that often is neglected in studies on ancient reception.This book offers an international scope and illustrates how academic conceptual foundations influence museum exhibitions.This timely volume discusses contemporary museum exhibitions of ancient sculpture and clarifies how old discourses continue to affect museum exhibitions and conceptualizations of ancient sculptures. The authors analyze close to 100 museums around the world, and demonstrate the ways in which ancient sculptures are mediated across Europe and the West.

Expanding his collected essays on architectural theory and criticism, Chris Abel pursues his explorations across disciplinary and regional boundaries in search of a deeper understanding of architecture in the evolution of human culture and identity formation. From his earliest writings predicting the computer-based revolution in customized architectural production, through his novel studies on 'tacit knowing' in design or hybridization in regional and colonial architecture, to his radical theory of the 'extended self', Abel has been a consistently fresh and provocative thinker, contesting both conventions and intellectual fashions. This revised third edition includes a new introduction and six additional chapters by the author covering a broad range of related topics, up to recent concerns with genetic design methods and virtual selves. Together with the former essays, the book presents a unique global perspective on the changing cultural issues and technologies shaping human identities and the built environment in diverse parts of the world, both East and West.