The term "house of art" designates the cultural phenomenon and creative mode in modernity associated with an artist's residence as his own creation and as his product of a need to create which is unfulfilled in the painter's, writer's or composer's actual field. This book discusses the most important of these creations from the 18th century to the beginning of the 20th, including gardens as well as the artist's space, broadly understood, annexed by his imagination. An artist's shaping of his own residence was most commonly a secondary area of his creative work. The formula for a "house of art" is specific to the particular artist and does not have to fit within any given architectural or decorative style. It may conform to the traditions of a residence (artist's palace, cottage etc), but most often it forms an individual case.

No other city in the Indian subcontinent can lay claim to having so many lives as Delhi. This book examines Delhi in the politically and culturally dynamic nineteenth century that was marked midway by the 1857 uprising against British colonial rule as a watershed event. Following British occupation, Delhi became a receptacle for encounters between the centuries old Mughal traditions and the incoming colonial ideal, producing a traditionalism-modernity binary. Employing the built environment lens, the book traces the architectural trajectory of Delhi as it transitioned from the seventeenth-century Mughal Badshahi Shahar (imperial city) first into a culturally hybrid Dilli-Delhi combine of the pre-uprising era and thereafter into a modern British city following the uprising. This transition is presented via four constructs that draw on the traditionalism-modernity binary of Mughal and British Delhi and include Marhoom Dilli (Dead Delhi); Picturesque Delhi; Baaghi Dilli (Insurgent Delhi) and Tamed Delhi. The book goes beyond the nineteenth century to examine the vestiges of Delhi's four nineteenth-century lives in the present, while making a case for their acknowledgement as a cultural asset that can propel the city's urban development agenda. By bringing together the city's past and its present as well as addressing its future, the book can count among its readers not just scholars but also those interested in cities and their evolving landscapes.

In this book, Philip Kiernan explores how cult images functioned in Roman temples from the Iron Age to Late Antiquity in the Roman west. He demonstrates how and why a temple's idols, were more important to ritual than other images such as votive offerings and decorative sculpture. These idols were seen by many to be divine and possessed of agency. They were, thus, the primary focus of worship. Aided by cross-cultural comparative material, Kiernan's study brings a biographical approach to explore the 'lives' of idols and cult images - how they were created, housed in temples, used and worshipped, and eventually destroyed or buried. He also shows how the status of cult images could change, how new idols and other cult images were being continuously created, and how, in each phase of their lives, we find evidence for the significant power of idols.

Home to some of the most remarkable spaces in contemporary culture, the cinema of David Lynch demonstrates an acute awareness of architecture. From the urban wastelands of Eraserhead to the eerie Red Room in Twin Peaks, Lynch's architecture is anxious, absurd and utterly distinct. Contemporary architects such as Peter Eisenman, Frank Gehry and Jean Nouvel have responded to these spaces in fascinating ways.This book is the first sustained critical assessment of the role architecture and design play in Lynch's films. What can be learnt about Lynch's films by examining the architecture we see within them? What can be learnt about architecture, especially the spatial developments of post-war America, by examining Lynch's films?Drawing on primary research in Lodz, London, Los Angeles, Paris and Philadelphia, the book is structured around the prime symbolic spaces found in Lynch's work: the small town, the city, the home, the road, and the stage. A final chapter deals with the singular architecture of Lynch's latest film, Inland Empire, a complex work yet to receive sufficient critical explication. Alongside a broad set of literary, cinematic and artistic comparisons, a diverse range of urban and architectural theorists, including Mike Davis, Jane Jacobs and Richard Sennett, are discussed in a new context.The Architecture of David Lynch will emphasise key architects such as Rem Koolhaas, Le Corbusier, Adolf Loos, Richard Neutra, Jean Nouvel and Frank Lloyd Wright to show how Lynch's films enable us to understand contemporary architecture and demonstrates that Lynch's work prompts a reconsideration of how European modernism has been translated across the Atlantic.

In recent years Russian cities have visibly changed. The architectural heritage of the Soviet period has not been fully acknowledged. As a result many unique modernist buildings have been destroyed or changed beyond recognition. Russian photographer Arseniy Kotov intends to document these buildings and their surroundings before they are lost forever. He likes to take pictures in winter, during the 'blue hour', which occurs immediately after sunset or just before sunrise. At this time, the warm yellow colours inside apartment block windows contrast with the twilight gloom outside. To Kotov, this atmosphere reflects the Soviet period of his imagination. His impression of this time is unashamedly idealistic: he envisages a great civilization, built on a fair society, which hopes to explore nature and conquer space. From the Baikonur Cosmodrome in the desert steppes of Kazakhstan to the grim monolithic high-rise dormitory blocks of inner city Volgograd, Kotov captures the essence of the post-Soviet world. 'The USSR no longer exists and in these photographs we can see what remains - the most outstanding buildings and constructions, where Soviet people lived and how Soviet cities once looked: no decoration, no bright colours and no luxury, only bare concrete and powerful forms.'

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.

What connects garbage dumps in New York, bomb sites in Baghdad, and skyscrapers in Sao Paulo? How is contemporary visual culture - extending from art and architecture to film and digital media - responding to new forms of violence associated with global and globalizing cities? Addressing such questions, this book is the first interdisciplinary volume to examine the complex relationship between globalization, violence, and the visual culture of cities. Violence - in both material and cultural forms - has been a prominent and endemic feature of urban life in the global metropolitan era. Focusing on visual culture and offering a strong humanities perspective that is currently lacking in existing scholarship, this book seeks to understand how the violent effects of globalization have been represented, theorized, and experienced across a wide range of cultural contexts and urban locations in Asia, Europe, North and South America, and the Middle East. Organized around three interrelated themes - fear, memory, and spectacle - essay topics range from military targeting in Baghdad, carceral urbanism in Sao Paulo, and the Paris banlieue riots, to the security aesthetics of G8 summits, the architecture of urban paranoia, and the cultural afterlife of the Twin Towers. Globalization, Violence, and the Visual Culture of Cities offers fresh insight into the problems and potential of cities around the world, including Beijing, Berlin, London, New York, Paris, and Sao Paulo. With specially-commissioned essays from the fields of cultural theory, architecture, film, photography, and urban geography, this innovative volume will be a valuable resource for students, scholars, and researchers across the humanities and social sciences.

This book examines the transformation of transparency as a metaphor in West German political thought to an analogy for democratic architecture, questioning the prevailing assumption in German architectural circles that transparency in governmental buildings can be equated with openness, accessibility and greater democracy.
The book traces the development of transparency in German political and architectural culture, tying this lineage to the relationship between culture and national identity, a connection that began before unification of the German state in the 18th century and continues today. The Weimar Republic and Third Reich periods are examined although the book focuses on the postwar period, looking at the use of transparency in the three projects for a national parliament, the 1949 Bundestag project by Hans Schwippert, the 1992 Bundestag building by Gunter Behnisch and the 1999 Reichstag renovation by Norman Foster.
Transparency is an IMPORTANT issue in CONTEMPORARY architectural practice; this book will appeal to both the practicing architect and the architectural historian.

While European eclecticism is examined as a critical and experimental moment in western art history, little research has been conducted to provide an intellectual depth of field to the historicist pursuits of late Ottoman architects as they maneuvered through the nineteenth century's vast inventory of available styles and embarked on a revivalist/Orientalist program they identified as the 'Ottoman Renaissance.' Ahmet A. Ersoy's book examines the complex historicist discourse underlying this belated 'renaissance' through a close reading of a text conceived as the movement's canonizing manifesto: the Usul-i Mi'mari-i 'Osmani [The Fundamentals of Ottoman Architecture] (Istanbul, 1873). In its translocal, cross-disciplinary scope, Ersoy's work explores the creative ways in which the Ottoman authors straddled the art-historical mainstream and their new, self-orientalizing aesthetics of locality. The study reveals how Orientalism was embraced by its very objects, the self-styled 'Orientals' of the modern world, as a marker of authenticity, and a strategically located aesthetic tool to project universally recognizable images of cultural difference. Rejecting the lesser, subsidiary status ascribed to non-western Orientalisms, Ersoy's work contributes to recent, post-Saidian directions in the study of cultural representation that resituate the field of Orientalism beyond its polaristic core, recognizing its cross-cultural potential as a polyvalent discourse.

As one of the most monumental and recognisable landmarks from Zanzibar's years as a British Protectorate, the distinctive domed building of the Zanzibar Museum (also known as the Beit al-Amani or Peace Memorial Museum) is widely known and familiar to Zanzibaris and visitors alike. Yet the complicated and compelling history behind its construction and collection has been overlooked by historians until now. Drawing on a rich and wide range of hitherto unexplored archival, photographic, architectural and material evidence, this book is the first serious investigation of this remarkable institution. Although the museum was not opened until 1925, this book traces the longer history of colonial display which culminated in the establishment of the Zanzibar Museum. It reveals the complexity of colonial knowledge production in the changing political context of the twentieth century British Empire and explores the broad spectrum of people from diverse communities who shaped its existence as staff, informants, collectors and teachers. Through vivid narratives involving people, objects and exhibits, this book exposes the fractures, contradictions and tensions in creating and maintaining a colonial museum, and casts light on the conflicted character of the 'colonial mission' in eastern Africa.

Provides a framework for understanding of the legal, contractual and procedural implication of architectural practice. The book acts as a useful aide-memoire for students and practitioners based on the premise that smooth legal administration will provide the conditions under which client relations can be constructive and good design can be achieved.

During the second half of the eighteenth century British architecture moved away from the dominant school of classicism in favour of a more creative freedom of expression. At the forefront of this change were architect brothers Robert and James Adam. Kondo's work places them within the context of eighteenth-century intellectual thought.

First Published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

This unique book, written by local experts in the city, deals with the transformation of Barcelona during the last twenty years. Barcelona has been held up as a model of urban planning and economic regeneration amongst built environment professionals. The redesign of square parks and streets throughout the city in the 1980s first attracted attention and praise and then the 1992 Olympics hosted in the city raised international awareness. The city received many awards and accolades including a Gold Medal from the RIBA. The selection of writings is well illustrated throughout with maps, drawings and photographs and will be of interest to architects, planners and urban designers as well as those interested in the social and economic impacts of regeneration.

This book offers a new perspective on French architecture, describing the impact of political history on the architectural development of Paris. Through various stages in history from the Roman to the Medieval, Renaissance and Early Modern and Modern, Paris: The Shaping of the French Capital shows how the immense political power of monarchs, the aristocracy and church determined the pace and volume of building in Paris and the extent of town planning. Whereas many other great cities owe their historic importance to trade, and to local government (the City of London being a supreme example), these attributes were largely absent in Paris (throughout most of its history it didn't even have a mayor). Arguably, because of this, gradually over the centuries the French capital emerged as one of the world's most beautiful cities, and now is a metropolis with a population in excess of 2 million.

The portfolio is the single most important part of every architectural student's education. This book proides a complete guide to preparing, compiling and presenting this crucial element of the architecture course. The experienced author team gives practical advice for the creation of the portfolio covering issues of size, storage, layout and order. They go on to guide the student through the various forms a portfolio can take: the Electronic Portfolio, the Academic Portfolio and the Professional Portfolio suggesting different approaches and different media to use in order to create the strongest portfolio possible. The team also presents the best examples from international student portfolios to show the reader their recommendations in practice. The book has a companion website where full colour representations of the best examples of portfolio work can be accessed. Also in the Seriously Useful Guides series: * The Dissertation * The Crit * Practical Experience

Conventional air conditioning is not a sustainable solution to the challenge of a hot or humid climate. The climate problem is compounded in so-called Urban Heat Islands, urban areas where the air can be 3-5 DegreesC hotter than its surrounding areas and where pollution levels are consequently raised. Including a colour section with thermal images and maps, this book explores the complex relationships between climate, buildings and plants, especially in urban heat islands. These relationships bear very critically on a range of environmental issues and point to some corresponding solutions. One chapter highlights some of the extensive research work carried out in Singapore, especially investigating the thermal benefits of greenery in buildings in the urban setting. Though several books have been written on urban heat islands, this work uniquely examines the linkages between climate, buildings and plants. It forms a reference for researchers and professionals such as architects, architectural science, landscape architects, building services engineers, urban planners and urban climatologists. It may also be useful for final year undergraduates or graduate students in these disciplines.

The construction of buildings is learnt through experience and the inheritance of a tradition in forming buildings over several thousand years. Successful construction learns from this experience which becomes embodied in principles of application. Though materials and techniques change, various elements have to perform the same function. 'Principles of Element Design' identifies all the relevant elements and then breaks these elements down into all their basic constituents, making it possible for students to fully understand the given theory and principles behind each part. As all building projects are subject to guidance through the Building Regulations and British Standards, this book gives an immediate reference back to relevant information to help practitioners and contractors identify key documents needed. Yvonne Dean B.A. (Hons) B.A (Open) RIBA, an architect, energy consultant and materials technologist. She also has 15 years experience as a lecturer, travels widely and is a guest lecturer at many universities. She pioneered an access course for Women into Architecture and Building, which has been used as a template by others, and has been instrumental in helping to change the teaching of technology for architects and designers. Peter Rich AA Dipl. (Hons) Architect, started his career with 14 years experience as a qualified architectural technician. He then joined the AA School of Architecture, working with Bill Allen and John Bickerdike after his graduation, later becoming a partner of Bickerdike Allen Rich and Partners. He also taught building construction at the Bartlett School of Architecture, University College London, and architectural design at the Polytechnic of North London. He now acts as a Consultant.

This book assesses the value of flagship developments and draws out lessons for best policy and practice. It looks at marketing strategies and the sales process for flagship developments and the areas in which they are located for urban regeneration. It discusses the management of marketing strategies and the development through the policy formulation, project implementation and policy/project evaluation. The author examines the strategies to date of 'marketing the city' and the conceptual scope and limits for developing the concept. He also looks at the extent to which people can be integrated into the urban 'product' and the advantages and disadvantages of this. Finally the impact of all these issues is assessed for the policy makers, planners, developers, architects and city authorities.

Toronto - the largest and one of the most multicultural cities in Canada - boasts an equally interesting and diverse architectural heritage. Architecture, Design and Craft in Toronto 1900-1940 tells a story of the significant changes in domestic life in the first 40 years of the twentieth century. Adopting a multidisciplinary approach to studies of residential spaces, the author examines how questions of modernity and modern living influenced not only architectural designs but also interior furnishings, modes of transportation and ways to spend leisure time. The book discusses several case studies, some of which are known both locally and internationally (for example Casa Loma), while others such as Guild of All Arts or Sherwood have been virtually unstudied by historians of visual culture. The overall goal of the book is to put Toronto on the map of scholars of urban design and architecture and to uncover previously unknown histories of design, craft and domesticity in Toronto. This study will be of interest not only to the academic community (namely architects, designers, craftspeople and scholars of these disciplines, along with social historians), but also the general public interested in local history and/or visual culture.

This original and innovative book examines a period in with the development of London was perhaps at its most intense, for in the opening decades of the nineteenth century a concerted attempt was made to transform the metropolis into a modern European capital. For the first time the re-imaging of London is considered in relation to attitudes towards land, land ownership and the use of landscapes. The author contends that methods of land management and development and the associative values of landscape usually connected with rural environments, were in many ways equally applicable to country and city and formed essential components in the evolution of the metropolis. This study of London landscapes will be of relevance to a broad range of researchers, academics and those with a lively interest in architectural, social, economic and cultural history. -- .

Cities can only exist because of the highly developed systems which underlie them, ensuring that energy, clean water, etc. are moved efficiently from producer to user, and that waste is removed. The urgent need to make the way that these services are provided more environmentally, socially and economically sustainable means that these systems are in a state of transition; from centralized to decentralized energy; from passive to smart infrastructure; from toll-free to road pricing. Such transitions are widely studied in the context of the influence of service providers, users, and regulators. Until now, however, relatively little attention has been given to the growing role of intermediaries in these systems. These consist of institutions and organizations acting in-between production and consumption, for example; NGOs who develop green energy labelling schemes in collaboration with producers and regulators to guide the user; consultants who advise businesses on how to save resources; and travel agents who match users with providers. Such intermediaries are in a position to shape the direction that technological transitions take, and ultimately the sustainability of urban networks. This book presents the first authoritative collection of research and analysis of the intermediaries that underpin the transitions that are taking place within urban infrastructures, showing how intermediaries emerge, the role that they play in key sectors - including energy, water, waste and building - and what impact they have on the governance of urban socio-technical networks.

First Published in 1986 The Architectural History of King's College Chapel provides a complete picture of how and why King's College Chapel came to be built. Francis Woodman uses the evidence both of structure and style and finance and patronage to present the organisation and mechanics of the structural campaigns spread over more than seventy years. He proposes a completely new sequence of constructions from that hitherto accepted, together with clear evidence of changes in policy concerning the intention to vault the Chapel part-way through construction. The book also contains the first complete analysis of the remarkable Tudor building accounts and their significance for the study of mediaeval architectural history. King's College Chapel is placed within the context of the contemporary architecture in both England and France and, for the first time, English late mediaeval architecture is considered and presented as one part of a wider European movement. This book is a must read for scholars and researchers of British architecture and architectural history.

Industrial ecology provides a sound means of systematising the various ideas which come under the banner of sustainable construction and provides a model for the design, operation and ultimate disposal of buildings.