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Get the completely revised edition to mastering the visual language of architecture.
In his distinctive graphic style, world-renowned author and architecture educator Francis D.K. Ching takes us on another exciting journey through the process of creation. In "Design Drawing, Second Edition," he unmasks the basic cognitive processes that drive visual perception and expression, incorporating observation, memory, and rendering into a creative whole. This edition unites imaginative vision with fundamental architectural principles to cover the traditional basics of drawing, including line, shape, tone, and space. Guiding the reader step-by-step through the entire drawing process, "Design Drawing" also examines different types of drawing techniques such as multiview, paraline, and perspective drawings -- and how they can be applied to achieve stunning results. In addition, this edition:
Goes beyond basic drawing books--Ching not only covers the principles, media, and techniques of drawing, but also places these within the context of what and why designers draw.Features more than 1,500 hand-rendered drawings--beautiful illustrations that reinforce the concepts and lessons of each chapter.Includes a supplemental CD-ROM--viewers will gain a greater appreciation of the techniques presented in this book through the power of animation, video, and 3D models. Twelve new modules are included, as is a video of the author demonstrating freehand techniques in a step-by-step manner.
For professional architects, designers, fine artists, illustrators, teachers and students alike, this all-in-one package is both an effective tool and an outstanding value, demonstrating concepts and techniques in a visually stimulating format that transends comparable works in the field.
How Gyorgy Kepes, the last disciple of Bauhaus modernism, became the single most significant artist within a network of scientific experts and elites. Gyorgy Kepes (1906-2001) was the last disciple of Bauhaus modernism, an acolyte of Laszlo Moholy-Nagy and a self-styled revolutionary artist. But by midcentury, transplanted to America, Kepes found he was trapped in the military-industrial-aesthetic complex. In this first book-length study of Kepes, John Blakinger argues that Kepes, by opening the research laboratory to the arts, established a new paradigm for creative practice: the artist as technocrat. First at Chicago's New Bauhaus and then for many years at MIT, Kepes pioneered interdisciplinary collaboration between the arts and sciences-what he termed "interthinking" and "interseeing." Kepes and his colleagues-ranging from metallurgists to mathematicians-became part of an important but little-explored constellation: the Cold War avant-garde. Blakinger traces Kepes's career in the United States through a series of episodes: Kepes's work with the military on camouflage techniques; his development of a visual design pedagogy, as seen in the exhibition The New Landscape and his book The New Landscape in Art and Science; his encyclopedic Vision + Value series; his unpublished magnum opus, the Light Book; the Center for Advanced Visual Studies (CAVS), an art-science research institute established by Kepes at MIT in 1967; and the Center's proposals for massive environmental installations that would animate the urban landscape. CAVS was entangled in the antiwar politics of the late 1960s, as many students and faculty protested MIT's partnerships with defense contractors-some of whom had ties to the Center. In attempting to "undream" the Bauhaus into existence in the postwar world, Kepes faced profound resistance. Generously illustrated, drawing on the vast archive of Kepes's papers at Stanford and MIT's CAVS Special Collection, this book supplies a missing chapter in our understanding of midcentury modern and Cold War visual culture.
The revered architectural reference, updated with contemporary examples and interactive 3D models The Interactive Resource Center is an online learning environment where instructors and students can access the tools they need to make efficient use of their time, while reinforcing and assessing their understanding of key concepts for successful understanding of the course. An access card with redemption code for the online Interactive Resource Center is included with all new, print copies or can be purchased separately. (***If you rent or purchase a used book with an access code, the access code may have been redeemed previously and you may have to purchase a new access code -ISBN: 9781118986837). The online Interactive Resource Center contains resources tied to the book, such as: * Interactive Animations highlighting key concepts * Photo Gallery of architectural precedents illustrated in the book * Flashcards for focused learning Architecture: Form, Space, and Order, Fourth Edition is the classic introduction to the basic vocabulary of architectural design, updated with new information on emerging trends and recent developments. This bestselling visual reference helps both students and professionals understand the vocabulary of architectural design by examining how space and form are ordered in the environment. Essential and timeless, the fundamental elements of space and form still present a challenge to those who crave a deeper understanding. Taking a critical look at the evolution of spaces, Architecture distills complex concepts of design into a clear focus that inspires, bringing difficult abstractions to life. The book is illustrated throughout to demonstrate the concepts presented, and show the relationships between fundamental elements of architecture through the ages and across cultures. Topics include: * Primary elements and the principles of space design * Form and space, including light, view, openings, and enclosures * Organization of space, and the elements and relationships of circulation * Proportion and scale, including proportioning systems and anthropometry
The classic visual guide to the basics of building construction, now with a 3D digital building model for interactive learning
For over three decades, "Building Construction Illustrated" has offered an outstanding introduction to the principles of building construction. This new edition of the revered classic remains as relevant as ever, providing the latest information in Francis D.K. Ching's signature style. Its rich and comprehensive approach clearly presents all of the basic concepts underlying building construction.
New to this edition are digital enhancements delivered as an online companion to the print edition and also embedded in e-book editions. Features include a 3D model showing how building components come together in a final project.llustrated throughout with clear and accurate drawings that present the state of the art in construction processes and materialsUpdated and revised to include the latest knowledge on sustainability, incorporation of building systems, and use of new materialsContains archetypal drawings that offer clear inspiration for designers and draftersReflects the 2012 International Building Codes and 2012 LEED system
This new edition of "Building Construction Illustrated" remains as relevant as ever, with the most current knowledge presented in a rich and comprehensive manner that does not disappoint.
The BIM Manager's Handbook: Guidance for Professionals in Architecture, Engineering, and Construction Building Information Modelling (BIM) is a design and construction software that manages not just graphics, but also information information that enables the automatic generation of drawings and reports, design analysis, schedule simulation, facilities management, and cost analysis ultimately enabling any building team to make better-informed decisions. This allows a range of professionals architects, engineers, construction managers, surveyors, cost estimators, project managers, and facility managers to share this information throughout a building's lifecycle. BIM is now recognized worldwide for the efficiencies it delivers in terms of working collaboratively, communication, processes, cost savings, and a property's lifecycle management. With the widespread adoption of BIM, BIM Managers have become a much-needed new breed of professionals in architectural, engineering, and construction practice. Their role is often misunderstood and ill-defined, and such are the day-to-day deliverables that they are likely to face. The BIM Manager's Handbook provides an in-depth account of the breadth of activities that any BIM Manager or staff member, who is actively engaged in the delivery of project, is required to undertake. Providing prereleases of the final work, The BIM Manager's Handbook ePart series isolates significant topics around BIM management. In the sixth and final ePart, BIM is taken to the next level by outlining what is required to truly excel as a BIM Manager. It highlights how BIM Managers acquire the necessary communication skills to maximize an efficient information flow between the BIM Manager and others. It illustrates how BIM Managers tie their activities to cutting-edge BIM research and development globally. Lastly, this ePart lays out how to promote BIM excellence both within an organization and beyond.
The New Paradigm in Architecture tells the story of a movement that has changed the face of architecture over the last forty years. The book begins by surveying the counter culture of the 1960s, when Jane Jacobs and Robert Venturi called for a more complex urbanism and architecture. It concludes by showing how such demands began to be realized by the 1990s in a new architecture that is aided by computer design-more convivial, sensuous, and articulate than the Modern architecture it challenges. Promoted by such architects as Frank Gehry, Daniel Libeskind, and Peter Eisenman, it has also been adopted by many schools and offices around the world. Charles Jencks traces the history of computer design which is, at its heart, built on the desire for an architecture that communicates with its users, one based on the heterogeneity of cities and global culture. This book, the first to explore the broad issue of Postmodernism, has fostered its growth in other fields such as philosophy and the arts. First written at the start of an architectural movement in the mid-1970s, it has been translated into eleven languages and has gone through six editions. Now completely rewritten and with two new chapters, this edition brings the history up to date with the latest twists in the narrative and the turn to a new complexity in architecture.
If you don't know your Baroque from your Rococo, or the difference between Art Nouveau and Art Deco, or where Modernism ends and Postmodernism begins, then don't fear, you're not alone. Understanding Architecture will reveal all. From the ancient world to the present day, from medieval Cambodian temples to Paris metro stations, from American shotgun shacks to colonial villas, fascist grandeur to the latest ecologically friendly structures, the book expertly guides the reader through the world's different architectural styles. Arranged chronologically, over two spreads a major building is used to illustrate a particular style - King's College Chapel, Cambridge for Perpendicular Gothic, the Palace of Versailles for Baroque, the Chrysler Building for Art Deco. Each entry is illustrated with both general view photographs and close-ups, accompanied by accessible text explaining the major features of the style. Each chapter also offers a general cultural background to the major architectural movements, putting them into historical context. Illustrated with more than 200 outstanding photographs of remarkable buildings, Understanding Architecture is an excellent, accessible introduction to the history of architecture.
An unprecedented survey of the origins and evolution of Chinese architecture, from the last millennia BCE to today Throughout history, China has maintained one of the world (TM)s richest built civilizations. The nation (TM)s architectural achievements range from its earliest walled cities and the First Emperor (TM)s vision of city and empire, to bridges, pagodas, and the twentieth-century constructions of the Socialist state. In this beautifully illustrated book, Nancy Shatzman Steinhardt presents the first fully comprehensive survey of Chinese architecture in any language. With rich political and historical context, Steinhardt covers forty centuries of architecture, from the genesis of Chinese building through to the twenty-first century and the challenges of urban expansion and globalism. Steinhardt follows the extraordinary breadth of China (TM)s architectural legacy "including excavation sites, gardens, guild halls, and relief sculpture "and considers the influence of Chinese architecture on Japan, Korea, Mongolia, and Tibet. Architectural examples from Chinese ethnic populations and various religions are examined, such as monasteries, mosques, observatories, and tombs. Steinhardt also shows that Chinese architecture is united by a standardized system of construction, applicable whether buildings are temples, imperial palaces, or shrines. Every architectural type is based on the models that came before it, and principles established centuries earlier dictate building practices. China (TM)s unique system has allowed its built environment to stand as a profound symbol of Chinese culture. With unprecedented breadth united by a continuous chronological narrative, Chinese Architecture offers the best scholarship available on this remarkable subject for scholars, students, and general readers.
Architect Mike Jenner describes Bath's more notable classical buildings, explains the rules to which they were expected to conform, and tells how a few geniuses broke them to move European architecture and urban planning triumphantly forward. The book ranges from the Roman era through eighteenth-century showpieces such as John Wood's Circus and Royal Crescent to the controversial late twentieth-century Cavendish Lodge. The author shows how the problem of designing buildings which fit harmoniously into their context is not new, and gives examples of eighteenth-century classical buildings in Bath which caused serious visual damage to the earlier ones around them. He explains how this reflected the see-saw of fashion, with the work of every generation despised and rejected by the next, and then brought back into esteem by a later one. The Classical Buildings of Bath demonstrates the pleasure to be obtained from looking at classical buildings with proper understanding and the benefit of Stephen Morris' superlative photographs.
Evoking Through Design: Contemporary Moods in Architecture is visually stunning, featuring built work and speculative projects, which highlight how contemporary practices are using devices such as spatial compositing, surface articulation and novel manipulations of materials in order to constitute spatial conditions radiating in delicate and sophisticated atmospheres. Contributors: Benjamin Bratton, Jeffrey Kipnis, Neil Leach, Silvia Levin, Frederic Migayrou, Juhani Pallasmaa, David Ruy, and Mario Carpo. Architects: Phillip Beesley, Marjan Colletti, Hernan Diaz Alonso, Evan Douglis, Michael Hansmayer, Steven Holl,Ferda Kolatan, Sean Lally, Greg Lynn and Peter Zumthor.
Some architects dream of 3D-printing houses. Some even fantasise about 3D-printing entire cities. But what is the real potential of 3D printing for architects? This issue focuses on another strand of 3D-printing practice emerging among architects operating at a much smaller scale that is potentially more significant. Several architects have been working with the fashion industry to produce some exquisitely designed 3D-printed wearables. Other architects have been 3D-printing food, jewellery and other items at the scale of the human body. But what is the significance of this work? And how do these 3D-printed body-scale items relate to the discipline of architecture? Are they merely a distraction from the real business of the architect? Or do they point towards a new form of proto-architecture - like furniture, espresso makers and pavilions before them - that tests out architectural ideas and explores tectonic properties at a smaller scale? Or does this work constitute an entirely new arena of design? In other words, is 3D printing at the human scale to be seen as a new genre of 'body architecture'? This issue contains some of the most exciting work in this field today, and seeks to chart and analyse its significance. Contributors include: Paola Antonelli/MoMA, Francis Bitonti, Niccolo Casas, Behnaz Farahi, Madeline Gannon, Eric Goldemberg/MONAD Studio, Kyle von Hasseln/3D Systems Culinary Lab, Rem D Koolhaas, Julia K rner, Neil Leach, Steven Ma/Xuberance, Neri Oxman/MIT Media Lab, Ronald Rael and Virginia San Fratello, Gilles Retsin, Jessica Rosenkrantz/Nervous System, and Patrik Schumacher/Zaha Hadid Architects.
Surface decoration has always played a fundamental role in Islamic architecture. As human representation is forbidden in Islamic religious monuments, designers employed mosaics, stucco, brickwork and ceramics, and the vigorous use of brilliant colour to reach unparalleled heights of expression. It is this ornamental dimension of Islamic architecture that is explored in this magnificent volume. Rather than limiting itself to an exclusively historical or chronological perspective, Ornament and Decoration in Islamic Architecture presents four successive approaches to its subject. The first part offers an overview of Islamic architecture, discussing the great diversity it contains. Dealing exclusively with techniques, the second part considers the materials most often used as well as the expertise of the builders and Muslim decorative artists, and the third part explores themes in Islamic ornamentation. Section four discusses aesthetics, and studies the relationship between the buildings - the structures or their architectonic components - and their ornamental coverings. Each of these topics is presented through a number of outstanding examples and then through comparable monuments from all over the Islamic world. For anyone in thrall to such great wonders as the Taj Mahal and the Alhambra, and for everyone interested in the world of Islam, this lavish publication will be indispensable.
A world that had changed little from the Middle Ages was altered beyond recognition by the pioneering genius of the nineteenth and twentieth centuries. In Dreams of Iron and Steel, acclaimed historian Deborah Cadbury tells the heroic tale of the visionaries and ordinary workers who brought to life seven great wonders of the world that still have the power to awe and inspire us today. Fueled by Deborah Cadbury's characteristic scholarship and insight, this extraordinary chronicle re-creates the human odyssey of how our modern world was forged not only with rivets, grease, and steam but also with blood, sweat, and extreme imagination. This P.S. edition features an extra 16 pages of insights into the book, including author interviews, recommended reading, and more.
Even more than authorship, ownership is challenged by the rise of digital and computational methods of design and production. These challenges are simultaneously legal, ethical and economic. How are new methods of fabrication and manufacture going to irreversibly change not only ways of working, but also designers ethics and their stance on ownership? In his 2013 second-term State of the Union address, President Obama stated that 3D printing has the potential to revolutionize the way we make almost everything . Nowhere will the impact of 3D printing be felt greater than in the architectural and design communities. When anyone can print out an object or structure from a digital file, will designers still exert the same creative rights or will they need to develop new practice and payment models? As architecture becomes more collaborative with open-source processes, will the emphasis on signature as the basis of ownership remain relevant? How will wider teams working globally be accredited and compensated? This issue of AD explores this subject; it features the work of designers who are developing wholly new approaches to practice by exploring means of commercialising process-based products rather than objects. Contributors: Phil Bernstein, Mark Garcia, Antoine Picon, Carlo Ratti and David Ruy Featured architects: Francis Bitonti, Marjan Colletti, Wendy W Fok, Panagiotis Michalatos, Jose Sanchez, Thibault Schwartz, Aaron Sprecher, Feng Xu and Philip Yuan
November 1891, the heart of Gilded Age Manhattan. Thousands filled the streets surrounding Madison Square, fingers pointing, mouths agape. After countless struggles, Stanford White-the country's most celebrated architect was about to dedicate America's tallest tower, the final cap set atop his Madison Square Garden, the country's grandest new palace of pleasure. Amid a flood of electric light and fireworks, the gilded figure topping the tower was suddenly revealed-an eighteen-foot nude sculpture of Diana, the Roman Virgin Goddess of the Hunt, created by Augustus Saint-Gaudens, the country's finest sculptor and White's dearest pal. The Grandest Madison Square Garden tells the remarkable story behind the construction of the second, 1890, Madison Square Garden and the controversial sculpture that crowned it. Set amid the magnificent achievements of nineteenth-century American art and architecture, the book delves into the fascinating private lives of the era's most prominent architect and sculptor and the nature of their intimate relationship. Hinman shows how both men pushed the boundaries of America's parochial aesthetic, ushering in an era of art that embraced European styles with American vitality. Situating the Garden's seminal place in the history of New York City, as well as the entire country, The Grandest Madison Square Garden brings to life a tale of architecture, art, and spectacle amid the elegant yet scandal-ridden culture of Gotham's decadent era.
A comprehensive account of the recent architectural scene in Croatia, this book is an account of the highly productive decade of architectural experimentation in Croatia lodged between the violent break-up of Yugoslavia and their slow integration into the EU. Ivan Rupnik guides the reader through the emergence of this bizarre and fascinating architectural scene on the very edge of united Europe, utilizing Ljubo Karaman's theory of the periphery as a distinct space of artistic production from that of the center or province, Manfredo Tafuri's concept of architectural experimentation, as well contemporary notions of agency. The account is framed using a variety of different lenses, including the observations of this moment by renowned writers, through the atmosphere of the period as defined by Croatia's complex post-socialist/postwar identity and the subsequent positioning of the architectural profession vis-a-vis that context, the practices that emerged, and through a series of discussions with some of the peripheral moment's primary agent provocateurs: 3LHD, njiric +, Randic - Turato, and STUDIO UP.
How some design appears to be something that it is not-by beautifying, amusing, substituting, or deceiving. Pretense design pretends to be something that it is not. Pretense design includes all kinds of designed objects: a pair of glasses that looks like a fashion accessory rather than a medical necessity, a hotel in Las Vegas that simulates a Venetian ambience complete with canals and gondolas, boiler plates that look like steel but are vinyl. In this book, Danish designer Per Mollerup defines and describes a ubiquitous design category that until now has not had a name: designed objects with an intentional discrepancy between surface and substance, between appearance and reality. Pretense design, he shows us, is a type of material rhetoric; it is a way for physical objects to speak persuasively, most often to benefit users but sometimes to deceive them. After explaining the means and the meanings of pretense design, Mollerup describes four pretense design applications, providing a range of examples for each: beautification, amusement, substitution, and deception. Beautification, he explains, includes sunless tanning, high heels, and even sporty accessories for a family car. Amusement includes forms of irrational otherness-columns that don't hold anything up, an old building's facade that hides a new building, a new Chinese town that mimics an old European town. Substitution pretends to be a natural thing: plastic laminate is a substitute for wood, Corian a substitute for marble, and prosthetics substitute for human organs. Deception doesn't just bend the truth; it suspends it. Soldiers wear camouflage to hide; hunters use decoys to attract their prey; malware hides in a harmless program only to wreak havoc on a user's computer. With Pretense Design, Per Mollerup adds a new concept to design thinking.
A fantastic collection of Soviet Asian architecture, many photographed here for the first time Soviet Asia explores the Soviet modernist architecture of Central Asia. Italian photographers Roberto Conte and Stefano Perego crossed the former Soviet republics of Kazakhstan, Kyrgyzstan, Uzbekistan and Tajikistan, documenting buildings constructed from the 1950s until the fall of the USSR. The resulting images showcase the majestic, largely unknown, modernist buildings of the region. Museums, housing complexes, universities, circuses, ritual palaces - all were constructed using a composite aesthetic. Influenced by Persian and Islamic architecture, pattern and mosaic motifs articulated a connection with Central Asia. Grey concrete slabs were juxtaposed with colourful tiling and rectilinear shapes broken by ornate curved forms: the brutal designs normally associated with Soviet-era architecture were reconstructed with Eastern characteristics. Many of the buildings shown in Soviet Asia are recorded here for the first time, making this book an important document, as despite the recent revival of interest in Brutalist and Modernist architecture, a number of them remain under threat of demolition. The publication includes two contextual essays, one by Alessandro De Magistris (architect and History of Architecture professor, University of Milan, contributor to the book Vertical Moscow) and the other by Marco Buttino (Modern and Urban History professor, University of Turin, specializing in the history of social change in the USSR).
The pioneering architect, planner, theorist and educator, Denise Scott Brown is the second recipient of the Soane Medal, which is awarded annually in recognition of architects who have made a major contribution to their field, through their built work, through education, history and theory. The lecture was delivered on 17 October 2018 at the Sainsbury Wing of the National Gallery, which she designed with Robert Venturi. From Soane to the Strip is a transcript of Denise Scott Brown's Soane Medal lecture - a narrated history of her early life and the experiences that shaped her later practice, illustrated by her own extraordinary and rarely-seen photography.
Architectural research is being redefined in practice. Whereas once the value of a piece of research was solely measured by the number of citations it received by fellow academics, shifting funding models and new societal concerns are forcing academia to question its structure and this mode of evaluation. At the same time a wave of practitioners and new types of institutions, such as RMIT in Melbourne and the London School of Architecture (LSA), have been recasting architectural education and theoretical speculation within practice, turning the traditional architectural studio into a learning environment that adopts and adapts academic models, and starts to use architectural research as a potential source of business intelligence, as a means for self-generating future commissions and speculative opportunities that sometimes even shift the terrain of practice. This new focus on research in practice is indicative of a profession redefining its relevance and scope. This is destabilising the traditional roles of academia and practice by questioning their deep-rooted separation and demanding a new definition of the term 'research' with one that is relevant to both parties. This issue features contributions from architectural thinkers, researchers and a number of practitioners who are recasting academic speculation within their own studios. This not only redefines what is meant by research and what forms it takes, but also how it creates value for them, their clients, for the discipline as a whole and for the ultimate users of their designs. This helps us to understand how research might be deemed valuable beyond a purely academic context. Moreover, it raises significant questions in terms of opportunities and risks that arise when research is recast into the less regimented realm of practice. Contributors: Daniel Davis, Lionel Devlieger, David Green, Harriet Harris, Rory Hyde, Lara Kinneir, James Soane, Ziona Strelitz, Leon van Schaik, John Zhang Featured architects: Assemble, DSDHA, Foster + Partners, Iredale Pedersen Hook, OMA, Public Practice and Superflux.
A stylish box of 16 notecards and envelopes with four stunning designs, depicting famous Brutalist buildings in London These outstanding graphic illustrations of London buildings with their clean lines and bold blocks of color have been used by influential ceramics company People Will Always Need Plates on a successful range of plates, mugs, and other objects. Now they are available in chic greeting cards.
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.
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