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.

THE INTERIOR CODES AND STANDARDS REFERENCE OF CHOICE FOR DESIGNERS AND ARCHITECTS--UPDATED FOR THE 2018 AND 2021 CODES If you are involved with the design or management of buildings and spaces, it is important to remain up-to-date on the ever-evolving codes and standards that keep communities safe. With over 80,000 copies sold, The Codes Guidebook for Interiors continues to provide comprehensive explanations of the major codes and standards applicable to commercial and residential interior projects. The -easily navigable format gives clear perspective to how these often confusing concepts and requirements are integrated into real world practice, helping designers incorporate the relevant standards into their -projects. Updated with the most recent changes and insights to the codes and standards of the ICC, NFPA, ANSI, ADA, and other standards, the Eighth Edition provides unparalleled and integrated guidance on building safety, accessibility, sustainability, energy efficiency, and more. Updates to the Eighth Edition include: Explanations of code requirements, highlighting the latest changes in the 2018 and 2021 ICC codes, including the International Building Code and the NFPA's Life Safety Code Clarifications to how and when the ADA, ABA and the ICC/ANSI accessibility requirements will apply to a project Introduction to the codes and standards that address sustainability in typical projects In-depth examinations of fire and smoke resistant assemblies, fire protection systems, and plumbing and mechanical requirements A companion website with printable study flashcards, instructor's manual, and PowerPoint slides for use in academic settings Digital and printable code checklists that can guide code research for professional projects and use in a design studio Current, practical, and relevant to nearly any interior or architectural project, The Codes Guidebook for Interiors provides invaluable insight and reference for both student and professional interior designers and architects.

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.

This book argues narrative, people and place are inseparable and pursues the consequences of this insight through the design of narrative environments. This is a new and distinct area of practice that weaves together and extends narrative theory, spatial theory and design theory. Examples of narrative spaces, such as exhibitions, brand experiences, urban design and socially engaged participatory interventions in the public realm, are explored to show how space acts as a medium of communication through a synthesis of materials, structures and technologies, and how particular social behaviours are reproduced or critiqued through spatial narratives. This book will be of interest to scholars in design studies, urban studies, architecture, new materialism and design practitioners in the creative industries.

This book explores how the museum concept has expanded beyond the boundaries of a single building into the historic city itself through musealization. Articulating the musealization of historic cities as a specific urban process, the book here presents a study of the transformation of the Sultanahmet district on Istanbul's historic peninsula, which has been the major focus of planning, conservation and museological studies in Turkey since the 19th century as the public face of the city. The author aims to offer empirically grounded and context-specific insight into the role of museums in the regeneration of historic cities. Musealization as an urban process varies in different geographical, cultural and ideological contexts, and across different time periods. By discussing the Sultanahmet district as a specific context of yet another city subjected to the musealization process, this book provides further insights into this important global phenomenon.

How to launch an international design practice and gain projects overseas
A comprehensive overview of the rewards and perils of international practice for architects, this book draws on the experience of dozens of leading practitioners to present lessons for the profession. Written primarily for architects, the content is also relevant to any design professional considering working in a foreign country. Among the many questions it helps answer:
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Should my firm consider pursuing work overseas?
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Can a small or medium-sized firm successfully pursue international work?
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How do we start and how do we get a first project in another country?
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How is international practice different from working in the United States?
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What contract provisions and other measures will help minimize the risks?
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Should we have an overseas office and, if so, what type?
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Should we consider outsourcing to overseas staff as a way to even out workload and increase profits?
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What does the future look like for international practice?
The largest section of the book expands on these issues with specific guidelines for working in more than 185 countries. Countries with little potential for North American architects are summarized briefly, while fuller descriptions are provided for more than 25 countries that have been or could be major markets for international design services.

This book from Jürgen Claus is a milestone among the books dedicated to the planet sea A knowledgeable overview of marine architectures from both the Pacific and Atlantic regions Discusses the seascape as a fluid studio for visual artists

One of the leading exponents of the nineteenth century's Gothic Revival, the architect Sir George Gilbert Scott (1811-78) most famously designed the Albert Memorial in Kensington Gardens and the Midland Grand Hotel at St Pancras. In the design and restoration of churches and cathedrals, his work was distinguished by its care, skill and sheer volume: most medieval cathedrals in England and Wales, including Westminster Abbey, benefited from Scott's expertise in some form. Written between 1864 and his death, then edited by his son and fellow architect George Gilbert Scott (1839-97), this 1879 autobiography was among the first of its kind, recording the background, career and opinions of a prolific professional architect. Moreover, the work includes a defence of Scott's principles against what he saw as the 'anti-restoration movement', led by John Ruskin and others. Altogether, these lucid memoirs confirm Scott's place at the centre of Victorian design.

This book focuses on the contemporary fired clay brick to explore themes of home and house, homeownership, materiality, and sense of place. It investigates why, despite an increasing number of alternative materials, brick remains at the forefront of what people, in the UK in particular, expect homes to be built of, and how brick is indelibly entwined with what home means – something materially stable and financially secure, affording a located sense of place. Through observation of the building process and interviews with bricklayers, foremen, planners, developers, and homebuyers in England, Felicity Cannell traces the embedded meanings of a mundane, ubiquitous artefact, and reveals the tensions and contradictions in today’s use of brick to signify the traditional home. Although easing the planning process and leading to quick sales, the way brick is used in mass market housing today considerably restricts its capacities, notably decoration, flexibility, and strength: the very qualities which have historically positioned this tremendously versatile material as the superlative building block. Overall, the book adds complexity to the study of home and prompts debate about why we build the way we do.

Book of Ruins offers a survey - not encyclopedic, but substantial - of leading moments when the fact and idea of ruins were taken up by writers, travellers and artists: painters, film makers, landscape architects, and architects. Gathering together short texts and extracts that describe and reflect on ruins, dating from remote antiquity (Scipio shedding tears when viewing the destruction of Carthage) to present times (the ruins of a modern city, portrayed in the film Requiem for Detroit), it provides a perspective upon what the past has meant to different cultures at different times. Following an introductory essay, the book includes 70 entries, chronologically ordered, each including an attractive indicative image (or two), an introductory commentary by the authors, and the text itself. The texts come from designers (from Bernini through Piranesi to David Chipperfield) as well as other artists (John Piper), and from literary figures (Goethe, Wordsworth, Byron and Shelley, Hugo, and Hardy). It concludes by discussing what we do with ruins by way of preservation, conservation, adaptive reuse and appropriation, and contemporary loss and ruin, as illustrated by 9/11 and the Neues Museum and highlighting the continuing relevance of the ruin.

Charles Locke Eastlake (1833-1906), an interior, furniture and industrial designer, showed talent as an architect and was awarded a Silver Medal in 1854 by the Royal Academy. He is known for influencing the style of later nineteenth-century 'Modern' Gothic furniture with his Hints on Household Taste (1868), but his passion for medieval architecture developed much earlier while he was in Europe during the 1850s. In 1866 he became Secretary to the Royal Institute of British Architects, and it was in 1872 that this work was published. The book is notable for being released at the height of the Gothic Revival movement in the later nineteenth century. It includes detailed comments on the architects, societies, literature and buildings that formed the cornerstones of the Gothic Revival, primarily in Britain, from around 1650 to 1870. A valuable mine of information, it remains a key source on the topic.

Ancient Athenians were known to reuse stone artifacts, architectural blocks, and public statuary in the creation of new buildings and monuments. However, these construction decisions went beyond mere pragmatics: they were often a visible mechanism for shaping communal memory, especially in periods of profound and challenging social or political transformation. Sarah Rous develops the concept of upcycling to refer to this meaningful reclamation, the intentionality of reemploying each particular object for its specific new context. The upcycling approach drives innovative reinterpretations of diverse cases, including column drums built into fortification walls, recut inscriptions, monument renovations, and the wholesale relocation of buildings. Using archaeological, literary, and epigraphic evidence from more than eight centuries of Athenian history, Rous's investigation connects seemingly disparate instances of the reuse of building materials. She focuses on agency, offering an alternative to the traditional discourse on spolia. Reset in Stone illuminates a vital practice through which Athenians shaped social memory in the physical realm, literally building their past into their city.

"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 III, which looks at Venetian buildings of the Early, Roman, and grotesque Renaissance, provides an analysis of the transitional forms of Arabian and Byzantine architecture while tracing the citys spiritual and architectural decline. Unabridged, and containing Ruskins original drawings, this guide to the moral, spiritual, and aesthetic implications of architecture is a treasure for 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)."

How do we get to know air? Aeropolis: Queering Air in Toxicpolluted Worlds offers a speculative and interdisciplinary framework to reorient common understandings of air and air pollution as matter “out there.� Aeropolis contests regimes of managing air which ultimately operate toward upholding dominant modes of world-making that are dependent on forms of exclusion and inequity. Instead, Aeropolis proposes that air is thought of as a city, to center its social, cultural, political, ecological entanglements. Drawing upon feminist technoscience and queer ecological frameworks, Aeropolis moves away from solutions toward a methodology of “designing-thinking-making� that redirects and connects our understandings of air—as designers, as citizens—with ongoing struggles for just futures. Moving through a series of design interventions, histories of air, and theoretical coordinates, Aeropolis thinks with air across its many forms—through smog and dust, bodies and breath, pollen and weeds, and from urban design to geopolitics, polluted environments to open data, parks to aerial infrastructures. It insists that we acknowledge the diversity of air and its relation to humans, non-humans, and environments, both physically and affectively. That we become sensible to air by following its unruliness—by living, breathing, seeing, holding, touching, queering airs. With contributions from María Puig de la Bellacasa and Timothy K. Choy.

This book offers an extended consideration of the fairground showfront. It combines archival material, contemporary examples of fairs, and a sustained theoretical engagement with influential philosophies of surface, including recent work by Avrum Stroll and Andrew Benjamin, as well as the nineteenth century author Gottfried Semper. Semper's work on the origin of architectural enclosure -formed from woven mats and carpets- anticipates the surface and material history of the showfront. Initial chapters introduce these philosophies, the evolution of showfronts, and the ways in which individual fairground rides and attractions are arranged to form an enclosing boundary for the whole fair. Later chapters focus on issues of spectacle and illusion, vast 'interior' spaces, atmosphere, crowds and surface effects. Informed by a wide range of work from other design and cultural studies, the book will be of interest to readers in these areas, as well as architecture and those curious about the fairground.

The use of analytical methods in studies concerning works of art and archaeological artifacts provides essential information on the materials they are made from, including their composition, age, and methods used in their production. This book explains how to use analytical methods to obtain such information.