Learn to apply new digital design technologies at your own firm with this practical and insightful resource Digital Sketching: Computer-Aided Conceptual Design delivers a comprehensive and insightful examination of how architects and other design professionals can best use digital design technology to become better designers. Celebrated professional, professor, and author John Bacus provides readers with practical and timely information on emerging digital design technologies and their effect on professional practice. By focusing on the big picture, this rigorous survey of conceptual design technology offers professionals realistic strategies for reclaiming time for design in the ever increasing speed of project delivery. This book helps architects (and others like them) learn to use digital sketching techniques to be better designers, right from the project's very first sketch. As part of the groundbreaking Practical Revolutions series of books, Digital Sketching furthers the conversation of the practical deployment of emerging technologies in the building industries. This book provides readers with the information they need to evaluate digital design technology and decide whether or not to adopt and integrate it into their own processes. Readers will receive: An accelerated and accessible introduction to a highly technical topic Practical and applicable guidance on how to adapt a firm's business to adopt new technology without losing the benefit of existing intuition, skill, and experience. Real world implementations of specific techniques in the form of illuminating case studies that include results and lessons learned Perfect for professional architectural designers, Digital Sketching also belongs on the bookshelves of interior designers, landscape architects, urban planners, contractors, and specialty fabricators of every kind. A disciplined sketching practice, especially through the digital methods discussed in this book, is a transformational benefit to anyone who designs and builds for a living.

The strange cries heard at night in a dilapidated penitentiary, the glimpse of a `White Lady' floating through a graveyard, the face at the window in a room that has been locked for decades - stories of hauntings never cease to intrigue us. From palaces to prisons, from an 11th century chateau in France to 'The Island of the Dolls' in Mexico City, Haunted Places features the world's most fascinating spooky locations. Some hauntings are recent, others are ancient, but all the stories are striking: from the deceased monks who pace the boundaries of a ruined former priory, to the lift operator in a Canadian hotel still working his shift decades after he died, to the infamous Vlad the Impaler, who haunts a Romanian castle where he was imprisoned for seven years. With tales of the `Mad Old Woman' who searches Highgate cemetery in London for the children she supposedly murdered to strange laughter heard at night, from apparitions to floating orbs to radios suddenly changing station, Haunted Places features 150 outstanding photographs of haunted sites. Each eerie photograph is accompanied by a caption explaining the story of the haunting, from tragic accidents to brutal murders, from executions to disease and other sorrowful endings.

"War Memorials as Political Landscape" critiques the social meaning of war memorials and their role in political and historical landscapes. Mayo argues that war memorials not only reflect the political history of a nation, but also that these memorials are mechanisms to symbolize and justify history. He posits that the presence or absence of commemoration for America's wars is largely explained by the war's importance in establishing the nation's symbolic identity as a political state and by the number of those who died in that war.

"More than simply a survey of an ancient city's most significant buildings, The Stones of Venicefirst published in three volumes between 1851 and 1853is an expression of a philosophy of art, nature, and morality that goes beyond art history, and has inspired such thinkers as Leo Tolstoy, Marcel Proust, and Mahatma Gandhi. Volume II, examining the Byzantine era and the architectural developments of Venices Gothic period, includes the oft-anthologized chapter The Nature of Gothic, one of the authors most important discussions of his key theme, the relation of the art of Venice to her moral temper. For Ruskin, the Gothic style embodied the same moral truths sought by great art. Informative, aesthetic, and spiritual, this architectural exploration will be appreciated by students and scholars alike. The preeminent art critic of his time, British writer JOHN RUSKIN (18191900) had a profound influence upon European painting, architecture, and aesthetics of the 19th and 20th centuries. His immense body of literary works include Modern Painters, Volume IIV (18431856); The Seven Lamps of Architecture (1849); Unto This Last (1862); Munera Pulveris (18623); The Crown of Wild Olive (1866); Time and Tide (1867); and Fors Clavigera (1871-84)."

This important study introduces the key theories of national identity, and relates them to the broad fields of product, graphic and fashion design. Javier Gimeno-Martinez approaches the inter-relationship between national identity and cultural production from two perspectives: the distinctive characteristics of a nation's output, and the consumption of design products within a country as a means of generating a national design landscape. Using case studies ranging from stamps in nineteenth century Russian-occupied Finland, to Coca-Cola as an 'American' drink in modern Trinidad and Tobago, he addresses concepts of essentialism, constructivism, geography and multiculturality, and considers the works of key theorists, including Benedict Anderson, Eric Hobsbawm and Doreen Massey. This illuminating book offers the first comprehensive account of how national identity and cultural policy have shaped design, while suggesting that traditional formations of the 'national' are increasingly unsustainable in an age of globalisation, migration and cultural diversity. Javier Gimeno-Martinez is Lecturer in Design Cultures at the VU University Amsterdam, The Netherlands.

This book presents selected papers from The 1st International Conference on Computational Design and Robotic Fabrication (CDRF 2019). Focusing on novel architecture theories, tools, methods, and procedures for digital design and construction in architecture, it promotes dialogs between architecture, engineer, computer science, robotics, and other relevant disciplines to establish a new way of production in the building industry in the digital age. The contents make valuable contributions to academic researchers and engineers in the industry. At the same time, it offers readers new ideas for the application of digital technology.

This book is a history of the architecture produced in Turkey under the Ottoman Empire. It focuses on extant buildings in the Republic of Turkey, particularly those in Istanbul and the empire's earlier capitals in Bursa and Edirne. The book begins with a brief history of the Ottoman Empire, followed by an outline of the main features of Ottoman architecture and its decoration, then a brief biography of the great Ottoman architect Sinan. Successive chapters follow the development of Ottoman architecture from 1453 until 1923. The book is intended for the general reader with an interest in architecture, especially that of the Ottoman Turks, whose culture has left its mark not only on Turkey, but in the Balkans and throughout the Middle East.

A thematic reassessment of the work of two influential South African photographers.

This book focuses on a dialogue between two of the most important South African photographers of the twentieth century-David Goldblatt (1930-2018) and Santu Mofokeng (1956-2020). There are both profound similarities and differences between the two artists' work.

Goldblatt documented the ways in which architecture and spatial planning reflect the ideology of apartheid, and how the land continues to bear its legacy in post-apartheid South Africa. His investigations explore both actual structures and how mental constructs reveal how ideology has shaped our landscape. Mofokeng's photo essays shed light on everyday life in South Africa, beyond the stereo-typical news pictures of Soweto depicting violence or poverty. Deeply personal, they record communities in townships and rural areas, religious rituals and landscapes imbued not only with historical significance but spiritual meaning, memory and trauma.

The approach of Tamar Garb in Beyond the Binary is both daring and inquisitive-she "scrambles" and reassembles Mofokeng's and Goldblatt's photographs, blurring the boundaries between them and creates juxtapositions and insights that challenge prevailing views of these established images.

By delineating 15 viewpoints around the themes of "Earthscapes," "Edifices," and "Sociality," Garb decontextualizes the work and creates a platform for comparing and rethinking the artists' practices.

Structural Analysis of Historic Buildings offers the most’ complete, detailed, and authentic data available on the materials, calculation methods, and design techniques used by architects and engineers of the nineteenth and early twentieth centuries. It provides today’s building professionals with information needed to analyze, modify, and certify historic buildings for modern use. Among the many important features of this book not available in any other single volume are:

• More than 350 line drawings and diagrams taken directly from original sources such as the Carnegie Steele Company’s Pocket Companion (1893) and Frank Kidder’s The Architect’s and Builder’s Pocketbook (1902)
• Hard-to-find data on period structural components, such as cast-iron columns and beams, wrought-iron columns and beams, and fireproof terra cotta floor arches
• Methods for determining what kind of loads structural components were originally designed to bear and methods to determine if they are still capable of performing as intended
• Extensive coverage of historical foundation systems and empirical design methods for load-bearing masonry buildings

Take the first step to creating the home of your dreams . . . We all love our homes, but sometimes they can frustrate us. With underused spaces, cluttered living rooms, neglected hallways, impractical kitchens and lack of storage, the list of things we'd like to change can seem endless. In Rooms, award-winning architect Declan O'Donnell shows us how we can release our inner designer to create a home that works for the way we live. From open-plan living, to cleverly designed kitchens, home offices, extensions, attic conversions and clever storage ideas, Declan looks at common problems and solutions and, regardless of budget, helps us to channel our inner creativity to make changes to our home - to live better.

Following the success of Archidoodle, this new title focuses on the city. Filled with an array of beautiful and fun drawings, it poses 75 architectural challenges for the user: from building an underground community or designing your own imaginary city to creating a new park for New York, plus many more. Aimed at anyone who loves drawing buildings and cities, it encourages users to imagine their own creative solutions by sketching, drawing and painting in the pages of the book. In so doing, they will learn about a whole range of significant issues, such as the importance of transport, lighting and green spaces, the history of urban design and planning, and the use of monuments and symbols. The book also includes numerous examples of works and ideas by major architects to draw inspiration from and will appeal to everyone from children to students and professional architects.

What is Architectural History? considers the questions and problems posed by architectural historians since the rise of the discipline in the late nineteenth century. How do historians of architecture organise past time and relate it to the present? How does historical evidence translate into historical narrative? Should architectural history be useful for practicing architects? If so, how? Leach treats the disciplinarity of architectural history as an open question, moving between three key approaches to historical knowledge of architecture: within art history, as an historical specialisation and, most prominently, within architecture. He suggests that the confusions around this question have been productive, ensuring a rich variety of approaches to the project of exploring architecture historically. Read alongside introductory surveys of western and global architectural history, this book will open up questions of perspective, frame, and intent for students of architecture, art history, and history. Graduate students and established architectural historians will find much in this book to fuel discussions over the current state of the field in which they work.

The question of what architecture is answered in this book with one sentence: Architecture is space created for human activities. The basic need to find food and water places these activities within a larger spatial field. Humans have learned and found ways to adjust to the various contextual difficulties that they faced as they roamed the earth. Thus rather than adapting, humans have always tried to change the context to their activities. Humanity has looked at the context not merely as a limitation, but rather as a spatial situation filled with opportunities that allows, through intellectual interaction, to change these limitations. Thus humanity has created within the world their own contextual bubble that firmly stands against the larger context it is set in. The key notion of the book is that architecture is space carved out of and against the context and that this process is deterministic.

PREFACE: OF all building materials which are not found in a state of nature, the most important are, unquestionably, cement, concrete and bricks. The first of these includes a large variety of materials used to bind together particles of stone, sand, and other naturally occurring materials the second used in a broad sense includes all kinds of artificial stones made by cementing various materials together without the aid of heat, and the last bricks includes an even larger number of different articles, distinguished by their general form and by the fact that heat has been used to render their shape permanent. It is a mistake to suppose that all bricks are made of clay at the present time they are made from a number of other materials, such as destructor refuse, sand, slag, etc. Indeed, the composition of some bricks so closely resembles that of concrete as to render it necessary to include them as one of the forms taken by this material. It is important, in considering the chemical and other properties of these three typical building materials, to observe the genetic relationships between them. To neglect this is to enter upon a course of study which is exceptionally difficult, and to follow a pathway of thought along which many men have lost their way. So long as cement and concrete are considered as having nothing in common with bricks, and vice to understand the constitution versa, it is almost impossible of any of these materials. Separately, they lead to no important conclusions, but considered together they throw a light on each others characteristics which is as important as it is unexpected. Until a few years ago the brick industry of this country had no men of sufficientscientific training to study adequately the constitution of the materials used or the chemical and physical changes which occur during manufacture. Consequently, the industry was largely workedby rule of thumb, and men had often to pay very dearly for their experience, simply because there was no source from which to obtain guidance on the complex technical problems associated with their work. The manufacturers of cement have been more fortunate, for they realised at an early stage that success or failure depended largely on maintaining a mixture of constant chemical composition they found that tests were necessary at so many stages in the manufacture that the employment of several chemists became essential. With this scientific assistance the chemical and physical laws affecting the production of cement were studied with very gratifying results, and though much remains to be done, theimportance of a knowledge of chemistry in the manufacture of cement has been fully established. Concrete is in an intermediate stage so far as the application of science to its production is concerned...

This book examines the formative relationship between nineteenth century American school architecture and curriculum. While other studies have queried the intersections of school architecture and curriculum, they approach them without consideration for the ways in which their relationships are culturally formative-or how they reproduce or resist extant inequities in the United States. Da Silva addresses this gap in the school design archive with a cross-disciplinary approach, taking to task the cultural consequences of the relationship between these two primary elements of teaching and learning in a 'hotspot' of American education-the nineteenth century. Providing a historical and theoretical framework for practitioners and scholars in evaluating the politics of modern American school design, the book holds a mirror to the oft-criticized state of American education today.

Since its first publication this book has been hailed as the most comprehensive history of art ever published in a single volume. Presenting art history as an essential part of the development of humankind, it offers an authoritative, balanced and enlightening account, ranging from a statuette carved in central Europe some 30,000 years ago to the digital, video and installation art of the new millennium. The volume covers painting, mosaic, drawing, printmaking, sculpture, architecture and photography. Textiles, coins, pottery, enamels, gold and silver are also included. The scope is international, encompassing the arts of Asia, Africa and Oceania as well as Europe and the Americas. This Revised Seventh Edition expands the original coverage by embracing new developments in archaeology and art historical research, and in particular contemporary art historian Michael Archer has greatly expanded the authors' discussion of the art world over the past two decades, providing a new perspective on the latest developments shaping our cultural history. The insight, elegance and fluency that the authors bring to their text are complemented by 1459 superb illustrations, many of which are now in colour.