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Expanding on the publication of the shipsheds and slipways found in the northern half of Group 1 (Area 1) on the eastern side of Zea Harbour in Volume I.1-2 (2011) of the Ancient Harbours of the Piraeus series, Volume II presents further results of the archaeological investigations conducted by the Zea Harbour Project (ZHP) in 2004-2010 and 2012 of ancient shipsheds and slipways in Zea Harbour (Pashalimani), both identified and possible, making them the best documented structures in Athens' naval bases and in the wider Mediterranean.
'Exquisite Corpse' was a game played by the surrealists in which someone drew on a piece of paper, folded it and passed it to the next person to draw on until, finally, the sheet was opened to reveal a calculated yet random composition. In this entertaining and provocative book, Michael Sorkin suggests that cities are similarly assembled by many players acting with varying autonomy in a complicit framework. As unfolding terrain of invention, the city is also a means of accommodating disparity, of contextualizing sometimes startling juxtapositions. Sorkin's aim is to widen the debate about the creation of buildings beyond the immediate issues of technology and design. He discusses the politics and culture of architecture with daring, often devastating, observations about the institutions and personalities who have dominated the profession over the past decade. Their preoccupation with the empty style of 'beach houses and Disneyland' has consistently trivialized the full constructive scope of contemporary architecture's possibilities. Sorkin's intervetions range from the development scandals of New York where 'skyscrapers stand at the intersection between grid and greed', through the deconstructivist architectural culture of Los Angeles, to the work and ideas of architects, developers and critics such as Alvar Aalto, Norman Foster, Paul Goldberger, Michael Graves, Coop Himmelblau, Philip Johnson, Leon Krier, Frank Llyod Wright, Richard Rogers, Carlo Scarpa, James Stirling, Donald Trump, Tom Wolfe and Lebbeus Woods. Throughout Sorkin combines stinging polemic with a powerful call for a rebirth of architecture that is visionary and experimental--a recuperated 'dreamy science'.
The 21st-century city - defined by the duality of mass migrations to cities and continued sprawl - provides innumerable challenges and opportunities for architects, designers and planners today. Rapid environmental changes require scientific monitoring as forests and farmlands depopulate further; vast informal, self-organised urban settlements develop in the absence of master planning; and hyper-nodes monitor and influence everything through networked communications, media images, foreign aid and military might. Remote sensing and hand-held devices combine to create just-in-time delivery of design and planning services. These have the potential to shape and manage, as never before, vast interconnected ecosystems at local, regional and global scales. Close collaborations with scientists, decision makers and communities incite architects to realise new communication and networking skills. As the architect's role is transformed into that of a designer of the form of information, flows and processes rather than master planner, they will become the critical actor shaping the cities of this millennium.
Presenting specially commissioned features on Dubai, Cochin, New York, London, Washington, DC and Barcelona, this issue of AD platforms emerging voices in architecture, science and planning. It also presents penetrating treatments of important aspects of the topic by specialists, such as geophysicist Christopher Small and US Forest Service social ecologist Erika Svendsen, and contributions by established urban designers and architects.
A practical guide to research for architects and designers--now updated and expanded
From searching for the best glass to prevent glare to determining how clients might react to the color choice for restaurant walls, research is a crucial tool that architects must master in order to effectively address the technical, aesthetic, and behavioral issues that arise in their work.
This book's unique coverage of research methods is specifically targeted to help professional designers and researchers better conduct and understand research. Part I explores basic research issues and concepts, and includes chapters on relating theory to method and design to research. Part II gives a comprehensive treatment of specific strategies for investigating built forms. In all, the book covers seven types of research, including historical, qualitative, correlational, experimental, simulation, logical argumentation, and case studies and mixed methods.
Features new to this edition include: Strategies for investigation, practical examples, and resources for additional informationA look at current trends and innovations in researchCoverage of design studio-based research that shows how strategies described in the book can be employed in real lifeA discussion of digital media and online researchNew and updated examples of research studiesA new chapter on the relationship between design and research
"Architectural Research Methods" is an essential reference for architecture students and researchers as well as architects, interior designers, landscape architects, and building product manufacturers.
Georgian architecture had its roots in the Great Fire of London in 1666. Out of that disaster grew the need for rapid redevelopment, which was accomplished through standardization and the relaxation of restrictive practices in the building trades. This book investigates the decline in crafted buildings of the traditional client economies and the introduction of mass produced components that characterized an emerging consumerism. It is an approach that offers fresh insights into our architectural heritage by focusing on the traditions and innovations in the building methods of the time-the construction processes, the role of the building craftsmen, and the tools and materials they used. James Ayres describes how builders in London developed the English terraced house and town-centered building systems that influenced the architecture of Bath, Edinburgh, Dublin, and distant Philadelphia. He takes us through the building processes craft by craft, from the work of the surveyors and laborers who established the foundations to the joiners and painters who finished the interiors. Ayres outlines the ways in which forms do not only follow functions but are also conditioned by materials and methods. He describes how, with the burgeoning industrialization of the second half of the eighteenth century, a separation emerged between making and designing, a division that led to the decline of the craftsman as designer. This led to a shift in power, a move from the empirical understanding of those involved in the processes of making to the theoretically based activities of architects. Published for the Paul Mellon Centre for Studies in British Art
Much has been written about Millennials, but until now their growing presence in the field of architecture has not been examined in depth. In an era of significant challenges stemming from explosive population growth, climate change, and the density of cities, Millennials in Architecture embraces the digitally savvy disruptors who are joining the field at a crucial time as it grapples with the best ways to respond to a changing physical world. Taking a clear-eyed look at the new generation in the context of the design professions, Darius Sollohub begins by situating Millennials in a line of generations stretching back to early Modernism, exploring how each generation negotiates the ones before and after. He then considers the present moment, closely evaluating the significance of Millennial behaviors and characteristics (from civic-mindedness to collaboration, and time management in a 24/7 culture), all underpinned by fluency in the digital world. The book concludes with an assessment of the profound changes and opportunities that Millennial disruption will bring to education, licensure, and firm management. Encouraging new alliances, Millennials in Architecture is an essential resource for the architectural community and its stakeholders.
This book is a tribute to Dublin, an impressive artistic collection taking the reader on a tour through this most vibrant city. From historic Trinity College and the iconic Ha'penny Bridge to the lively pub scene and secret hidden corners, Dublin's artists highlight its beauties in the most unique way.
Why do we find the idea of a multi-coloured Parthenon so shocking today? Why was the Eiffel Tower such a target for hatred when it was first built? Is the Sagrada Familia a work of genius or kitsch? Why has Le Corbusier, one of the greatest of all architects, been treated as a villain? This book examines the critical legacy of both well known and either forgotten or underappreciated highpoints in the history of world architecture. Through 70 engaging, thought-provoking and often amusing debates, Jonathan Glancey invites readers to take a fresh look at the reputations of the masterpieces and great architects in history. You may never look at architecture in the same way again!
Though architecture is clearly not the sole focus of Dan Graham's work, it is one of his themes of predilection, as much in his photography as in his photography as in his installations and writings. How does Dan Graham use architectural ideas and functions, and in return, how can architectural thinking react to his accusations and justifications? This volume attempts to understand and evaluate his work from the perspective of modern and contemporary architecture, the necessary meeting-point for the basic questions he develops: urbanism, public/private space, socio-political life, ideological critique, the role of language in the visual-kinetic perception of the building (with ideas from the Russian formalists, Bakhtin, Mevdev, Shlovsky), or the effects on the constitution and transformation of the ego since the appearance of glass as a construction material. This approach promises to shed a clearer light on questions that belong not only to the separate fields of art and architecture.
Norwegian architecture has been in the international spotlight in recent years. Following the success of Made in Norway, this second volume presents a selection of 40 new examples of the best contemporary architecture Norway has to offer. These projects - large and small, rural and urban - are examples of how architects in Norway have reacted to the challenges of today. How are the different aspects of a modern Scandinavian society reflected in its architecture? How are new technical and material possibilities translated into relevant buildings for the 21st century? The book is based on presentations from Arkitektur N, the Norwegian Review of Architecture, but also contains new material, explaining and discussing some of the main challenges of architecture today, as seen from Norway.
The 14th century in Italian art is a very rich one, and Professor White's book gives architecture equal weight with painting and sculpture. The story of the Gothic style and the prehistory of the Renaissance is given: all the facts are related, but also the works of art are described with insight and for their own sakes, and not simply as data for fitting into schemes and theories. Among the great names are those of Arnolfo di Cambio, the Pisani, Cavallini, Cimabue, Duccio, Giotto, Simone Martini, and the Lorenzetti; among the buildings S. Croce, S. Maria Novella, the cathedral and the Palazzo Vecchio in Florence, and the cathedrals of Siena, Orvieto, and Milan, as well as churches, castles, and civic buildings from the Val d'Aosta to Sicily. The third edition of this work includes colour illustrations and incorporates textual revisions and an updated bibliography.
Post-war middle-class housing played a key role in constructing and transforming the cities of Europe and America, deeply impacting today's urban landscape. And yet, this stock has been underrepresented in a literature mostly focused on public housing and the work of a few master architects. This book is the first attempt to explore such housing from an international perspective. It provides a comparative insight into the processes of construction, occupation and transformation of residential architecture built for the middle-classes in 12 different countries between the 1950s and 1970s. It investigates the role of models, actors and policies that shaped the middle-class city, tracing geographies, chronologies and forms of development that often cross national frontiers. This study is particularly relevant today within the context of "fragilization" which affects the middle-classes, challenging, as it does, the urban role played by this residential heritage in the light of technological obsolescence, trends in patterns of homeownership, as well as social and generational changes.
Chicago is a city dedicated to the modern - from the skyscrapers that punctuate its skyline to the spirited style that inflects many of its dwellings and institutions, from the New Bauhaus to Hull-House. Despite this, the city has long been overlooked as a locus for modernism in the arts, its rich tradition of architecture, design, and education disregarded. Still the modern in Chicago continues to thrive, as new generations of artists incorporate its legacy into fresh visions for the future. "Chicago Makes Modern" boldly remaps twentieth-century modernism from our new-century perspective by asking an imperative question: How did the modern mind-deeply reflective, yet simultaneously directed - help to dramatically alter our perspectives on the world and make it new? Returning the city to its rightful position at the heart of a multidimensional movement that changed the face of the twentieth century, "Chicago Makes Modern" applies the missions of a brilliant group of innovators to our own time. From the radical social and artistic perspectives implemented by Jane Addams, John Dewey, and Buckminster Fuller to the avant-garde designs of Laszlo Moholy-Nagy and Mies van der Rohe, the prodigious offerings of Chicago's modern minds left an indelible legacy for future generations. Staging the city as a laboratory for some of our most heralded cultural experiments, "Chicago Makes Modern" reimagines the modern as a space of self-realization and social progress - where individual visions triggered profound change. Featuring contributions from an acclaimed roster of contemporary artists, critics, and scholars, this book demonstrates how and why the Windy City continues to drive the modern world.
Once condemned by Modernism and compared to a 'crime' by Adolf Loos, ornament has made a spectacular return in contemporary architecture. This is typified by the works of well-known architects such as Herzog & de Meuron, Sauerbruch Hutton, Farshid Moussavi Architecture and OMA. There is no doubt that these new ornamental tendencies are inseparable from innovations in computer technology. The proliferation of developments in design software has enabled architects to experiment afresh with texture, colour, pattern and topology.Though inextricably linked with digital tools and culture, Antoine Picon argues that some significant traits in ornament persist from earlier Western architectural traditions. These he defines as the 'subjective' - the human interaction that ornament requires in both its production and its reception - and the political. Contrary to the message conveyed by the founding fathers of modern architecture, traditional ornament was not meant only for pleasure. It conveyed vital information about the designation of buildings as well as about the rank of their owners. As such, it participated in the expression of social values, hierarchies and order. By bringing previous traditions in ornament under scrutiny, Picon makes us question the political issues at stake in today's ornamental revival. What does it tell us about present-day culture? Why are we presently so fearful of meaning in architecture? Could it be that by steering so vehemently away from symbolism, contemporary architecture is evading any explicit contribution to collective values?
Modernist architecture in Britain brought honesty to the structure of buildings and clean lines free of historical ornament to the style, establishing new ideas on how people could live and work. Where did this architecture come from? And who were the British and emigre architects creating Modernism in the UK? This book tells the story of Modernist architecture, from nineteenth-century Chicago to post-war Britain, concluding with a look at the continuing evolution of architectural style, from Post-Modern to the work of Zaha Hadid. Supported by over 150 photographs of buildings and design features from around the world, coverage includes: new methods from Chicago in the 1890s, opening up building options for Modernist architects in the new century; Frank Lloyd Wright and development of the Prairie Style; how Modernist architecture evolved in Britain; the progress of European Modernist architecture; the significance and far-reaching influence of Ludwig Mies van der Rohe, and finally, post-war development in Britain.
Home to over 4,000 constructions built in a modernist style influenced by the Bauhaus, Tel Aviv's White City is a world-renowned UNESCO World Heritage Site. This guide, written by the renowned conservation architect Sharon Golan Yaronm the co-founder and program director of the White City Center, offers the key to exploring the most important architectural sites in Tel Aviv. The buildings in the White City are characterized by a site-specific architectural language that adapts Euro-pean modernism to local climatic and cultural conditions. By exposing 100 such structures in four routes of 25 buildings, the book is a homage to the Bauhaus centennial celebrated in 2019. Furthermore, the guide illustrates the uniqueness of Tel Aviv's contemporary conservation approach, which maintains historic values while promoting the growth of the city through allowing additions on top of historical buildings.
American Louvre tells the fascinating story of the first purpose-built art museum in the United States, modelled on its famous namesake in Paris, and is illustrated with a wealth of contextual and contemporary images. Charles J. Robertson is the deputy director emeritus of the Smithsonian American Art Museum.
Our parish churches constitute a living patrimony without precise European parallel. Their cultural riches are astonishing, not only for their quality and quantity, but also their diversity and interest. Fine art and architecture here combine unpredictably with the functional, the curious and the naive, from prehistory to the present day, to form an unsung national museum which presents its contents in an everyday setting without curators or formal displays. Because church treasures usually remain in the buildings they were created for, properly interpreted they tell from thousands of local perspectives the history of the nation, its people and their changing religious observance. John Goodall's weekly series in Country Life has celebrated particular objects in or around churches that are of outstanding artistic, social or historical importance, to underline both the intrinsic interest of parish churches and the insights that they and their contents offer into English history of every period. Parish Church Treasures incorporates and significantly expands this material to tell afresh the remarkable history of the parish church. It celebrates the special character of churches as places to visit whilst providing an authoritative and up-to-date history at a time when the use and upkeep of these buildings and the care of their contents is highly contentious.
2008 Silver Award Winner, Architecture Category, Independent Publisher Book Awards. and Winning entry, General Trade Illustrated Category, in the 2008 New England Book Show sponsored by Bookbuilders of Boston. This is a book that students of architecture will want to keep in the studio and in their backpacks. It is also a book they may want to keep out of view of their professors, for it expresses in clear and simple language things that tend to be murky and abstruse in the classroom. These 101 concise lessons in design, drawing, the creative process, and presentation--from the basics of "How to Draw a Line" to the complexities of color theory--provide a much-needed primer in architectural literacy, making concrete what too often is left nebulous or open-ended in the architecture curriculum. Each lesson utilizes a two-page format, with a brief explanation and an illustration that can range from diagrammatic to whimsical. The lesson on "How to Draw a Line" is illustrated by examples of good and bad lines; a lesson on the dangers of awkward floor level changes shows the television actor Dick Van Dyke in the midst of a pratfall; a discussion of the proportional differences between traditional and modern buildings features a drawing of a building split neatly in half between the two. Written by an architect and instructor who remembers well the fog of his own student days, "101 Things I Learned in Architecture School" provides valuable guideposts for navigating the design studio and other classes in the architecture curriculum. Architecture graduates--from young designers to experienced practitioners--will turn to the book as well, for inspiration and a guide back to basics when solving acomplex design problem.
In 1812 the architect Sir John Soane (1753-1837) wrote a strange and perplexing manuscript, Crude Hints towards an History of my House in Lincoln's Inn Fields, in which, in the guise of an Antiquary, he imagines his home as a future ruin, inspected by visitors speculating on its origins and function. Never published in his lifetime, the manuscript has been meticulously transcribed and provided with an explanatory Introduction and footnotes by Helen Dorey, Deputy Director and Inspectress of Sir John Soane's Museum. Originally published as part of an exhibition catalogue sixteen years ago, this new edition has been extensively revised and updated. The text is accompanied by nineteen illustrations, seventeen of them in full colour.
Sir Christopher Wren overcame a complete lack of formal training and scan firsthand knowledge of European architecture to become a master of his art. He built nothing before he was thirty; but by the time he was seventy and still very active, his achievements rivaled those of any European architect.Wren was gifted with a fertile imagination, and his artistic gifts were complemented by his brilliant technical ingenuity. This combination is apparent in Wren's greatest work, St. Paul's Cathedral in London, which required rebuilding after the Great Fire of 1666. The famous dome of St. Paul's is a masterpiece of engineering, but it is also considered among the most beautiful in the world; it occupies a striking place in the London skyline as a legacy to England's greatest architect.This intelligent, well-illustrated survey by the late Margaret Whinney includes discussions of Wren's churches and secular buildings, and provides a look at several of his unexecuted designs.
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