Charlotte Perriand was one of great designers of the twentieth century. A pioneer of modernism, her work was often overshadowed by her more famous male collaborators, who included Le Corbusier, Pierre Jeanneret and Jean Prouve. However, in recent years her reputation as a furniture designer and architect has matched the stature of her peers - her furniture in particular has become highly prized by collectors. From the 1920s onwards, Perriand was instrumental in bringing the modernist aesthetic to interiors. But she also believed in the synthesis of the arts, and was friends with visual artists such as Pablo Picasso and Fernand Leger. This book will explore Perriand's journey from the machine aesthetic to her adoption of natural forms, and from modular furniture systems to major architectural projects such as Les Arcs ski resort. Featuring some of her most famous interiors, as well as her original furniture, her photography and her personal notebooks, this book sheds new light on Perriand's creative process and her place in design history. It will accompany the forthcoming Design Museum exhibition of the same title, which will coincide with the twenty-fifth anniversary of Perriand's last significant presentation in London, held at the Design Museum in 1996.

This book deploys literature to explore the social lives of objects and places. The first book of its kind, it embraces things as diverse as escalators, coins, skyscrapers, pottery, radios, and robots, and encompasses places as various as home, country, cities, streets, and parks. Here, fiction, poetry, and literary non-fiction are mined for stories of design, which are paired with images of contemporary architecture and design. Through the work of authors such as Cesar Aires, Nicholson Baker, Lydia Davis, Orhan Pamuk, and Virginia Woolf, this book shows the enormous influence that places and things exert in the world.

Marton Varo's imposing twin angels emerge dramatically from the facade of the Bass Performance Hall to herald the performing arts. Approximately forty-eight feet tall, the angels are several times larger than life. Of the same limestone as the building, they are inseparable from it. These glorious beings are depicted just at the moment they are touching Earth, gliding on the last little bit of lift from their extended wings. Each angel hovers above the street, weightless and serene in flowing garments. Each one leans her torso, arms, and head slightly away from the background wall to play a golden trumpet high above the street. With a gesture that reinforces the trumpeting, each angel raises an arm toward the sky. The angels have quickly become symbols of Fort Worth as valid and commanding as the city's "cowtown" heritage.

The carving and installation of such large high-relief sculptures was a daunting artistic and technical challenge. Varo carved three sets of smaller angels in preparation for work on the actual sculptures.Limestone for the works was quarried near Austin, Texas, and transported to Irvine, California, where Varo carved the works in large numbered blocks. The delicate carving of the wings was done in Fort Worth.

Engineers from Curtain Wall Design calculated the exact dimensions needed for each block and designed lifting devices for each. A crew of ironworkers and stonemasons installed the angels under Varo's supervision. Steel plates were embedded in the concrete walls to support the angels, and each carved block is permanently attached to a corresponding plate so that no block rests on the one below. This design transfers the weight of the sculpture to thebuilding.

Informal photographs by Varo and others record the creation of the angels from quarrying of the limestone through the initial carving of the blocks. Rodger Mallison recorded the installation process almost daily. The result is a superb photographic chronicle of a major artistic project.

Featuring more than 600 sketches depicting a vast array of architecturally and culturally significant buildings, bridges, towers, monuments, and more, Draw Like an Artist: 100 Buildings and Architectural Forms is a must-have visual reference for student and aspiring architects, artists, illustrators, and urban sketchers. This contemporary step-by-step guidebook demonstrates fundamental art and architectural concepts like proportion, perspective, and spatial relationships as you learn to draw a wide range of important residential, commercial, historic, and cultural buildings, bridges, towers, and other structures from all over the world and from ancient to modern-all shown from a variety of perspectives and scales. Each set of illustrations takes you from beginning sketch lines to a finished drawing. Author David Drazil's classic drawing style will make this a go-to sourcebook for years to come. Learn how to establish basic shapes; articulate lines for structure, forms, and shading; and add defining details by drawing these celebrated sites and many others: Residential: Fallingwater in the US and the Silo in Copenhagen Commercial: Dancing House in Prague and Sugamo Shinkin Bank in Tokyo Monuments/Sacred: Stonehenge in the UK and the Cathedral of Brasilia Bridges: Jade Belt Bridge in Beijing and the Sydney Harbor Bridge in Sydney, Australia Draw Like an Artist: 100 Buildings and Architectural Forms is a library essential for any artist or architect who's interested in learning how to draw and explore the underlying design principles of influential constructions. The books in the Draw Like an Artist series are richly visual references for learning how to draw classic subjects realistically through hundreds of step-by-step images created by expert artists and illustrators.

Timber-framed buildings are a distinctive and treasured part of Britain's heritage, with such noteworthy examples as Little Moreton Hall, Anne Hathaway's Cottage and Lavenham Guildhall. The oldest are medieval but their numbers peaked in the sixteenth and seventeenth centuries, with a revival in the nineteenth. The majority of timber-framed buildings are houses, but wood was used in all kinds of other buildings, including shops, inns, churches, town halls and farm buildings. In this beautifully illustrated book, Richard Hayman outlines the history of timber-framed designs, and considers the techniques used in their construction, the regional variations in style that can be found, and how these buildings displayed social status. He also guides the reader in identifying structures now concealed behind later work and explores how these buildings have been treated in subsequent centuries.

When its first covered bridge was constructed on the Ashtabula-Trumbull Turnpike in 1832, Ashtabula County was closer to frontier than a "new Connecticut." Its rutted roads promised adventure and suggested prosperity but also great hardship. Covered bridges, made mostly of local timber, would eventually soften the brutality of travel, isolation and a well-watered landscape. Their proliferation and preservation gave Ashtabula County the nickname "Covered Bridge Capital of the Western Reserve." Admire both famous and forgotten crossings with Carl E. Feather, who has spent over a quarter century mired in muddy creek beds, camera in hand, waiting for the perfect light."

The Spaces of the Hospital examines how hospitals operated as a complex category of social, urban and architectural space in London from 1680 to 1820. This period witnessed the transformation of the city into a modern metropolis. The hospital was very much part of this process and its spaces, both interior and exterior, help us to understand these changes in terms of spatiality and spatial practices. Exploring the hospital through a series of thematic case studies, Dana Arnold presents a theoretically refined reading of how these institutions both functioned as internal discrete locations and interacted with the metropolis. Examples range from the grand royal military hospital, those concerned with the destitute and the insane and the new cultural phenomenon of the voluntary hospital. This engaging book makes an important contribution to our understanding of urban space and of London, uniquely examining how different theoretical paradigms reveal parallel readings of these remarkable hospital buildings.

This collection of thirteen vignettes addresses several important episodes in the history of Russian temporary architecture and public art, from the royal festivals during the times of Peter the Great up to the recent venues including the Sochi Winter Olympics. The forms and the circumstances of their design were drastically different; however, the projects discussed in the book share a common feature: they have been instrumental in the construction of Russia's national identity, with its perception of the West - simultaneously, a foe and a paragon - looming high over this process. The book offers a history of multidirectional relationships between diplomacy, propaganda, and architecture.

This volume provides readers interested in urban history with a collection of essays on the evolution of public space in that paradigmatic western city which is Rome. Scholars specialized in different historical periods contributed chapters, in order to find common themes which weave their way through one of the most complex urban histories of western civilization. Divided into five chronological sections (Antiquity, Middle Ages, Renaissance, Baroque, Modern and Contemporary) the volume opens with the issue of how public space was defined in classical Roman law and how ancient city managers organized the maintenance of these spaces, before moving on to explore how this legacy was redefined and reinterpreted during the Middle Ages. The third group of essays examines how the imposition of papal order on feuding families during the Renaissance helped introduce a new urban plan which could satisfy both functional and symbolic needs. The fourth section shows how modern Rome continued to express strong interest in the control and management of public space, the definition of which was necessarily selective in this vastly extensive city. The collection ends with an essay on the contemporary debate for revitalizing Rome's eastern periphery. Through this long-term chronological approach the volume offers a truly unique insight into the urban development of one of Europe's most important cities, and concludes with a discuss of the challenges public space faces today after having served for so many centuries as a driving force in urban history.

This edited volume considers the ways in which multiple stages, phases, or periods in an artistic or design process have served to arrive at the final artifact, with a focus on the meaning and use of the iteration. To contextualize iteration within artistic and architectural production, this collection of essays presents a range of close studies in art, architectural and design history, using archival and historiographical research, media theory, photography, material studies, and critical theory. It examines objects as unique yet mutable works by examining their antecedents, successive exemplars, and their afterlives-and thus their role as organizers or repositories of meaning. Key are the roles of writing, the use of media, and relationships between object, image, and reproduction. This volume asks how a closer look at iteration reveals new perspectives into the production of objects and the production of thought alike. Written by an international team of contributors, offering a range of perspectives, it looks broadly at meaning and insight offered by the iteration-for processes of design, for historical research, and for the reception of creative works.

Transnational Mobility and Global Health spotlights the powerful and dynamic intersections of human movement, inequality, and health. The book explores the interacting political, economic, social, cultural, and climatic drivers of health and migration, proposing innovative ways to enhance global health and care provision in an era of transnational mobility. As health security continues to rise up the agenda in international politics, the book also analyses the political determinants of health and migration. Within the framework of key drivers of unequal mobilities, this book treats interconnected health and migration themes not covered elsewhere under one cover: health tourism, conflict-induced and other vulnerable-population movements, humanitarian crises, human rights, the health-development linkage, migrant health-care, and health-competency education. The book also considers global health vulnerabilities in the wake of climate change, and the biomedical, ethical, and governance challenges of emerging and reemerging infectious diseases. Finally, the book suggests ways of evaluating mobility-influenced health outcomes and equity impacts, and explores how the global circulation of health expertise could help to rectify care-provider shortages. The challenges to global health considered in this book are only likely to become more intense as the 21st-Century surge in transnational migration continues. Readers will gain interdisciplinary appreciation for the relevance of health for migration and of migration for global health. Researchers, students, practitioners, and policy makers interested in individual and population health, sustainable development, and migration studies will find this book a useful and inspiring guide to contemporary global challenges.

This volume presents a critical analysis of sociological theorizing and power which enables the reader to grasp fully the nature of power, rule and domination in organizational life. By making use of the discussions he recorded at a construction site, the author brings the reader into contact with the everyday social world in which he locates his analysis of power and authority at both a structural and phenomenological level. This analysis is complemented by the author's review of the literature on 'theorizing' by writers such as Wittgenstein, Blum, McHugh, Phillips and Cicourel; his examination of the 'community power debate' between authors such as Bachrach and Baratz and Dahl; and a survey of the literature on power in its organizational aspects by Weber, Simmel and the more contemporary work of Hickson.

Until the mid-twentieth century the Western imagination seemed intent on viewing Rome purely in terms of its classical past or as a stop on the Grand Tour. This collection of essays looks at Rome from a postmodern perspective, including analysis of the city's 'unmappability', its fragmented narratives and its iconic status in literature and film.

Between 1898 and 1909, Frank Lloyd Wright's residential studio in the idyllic Chicago suburb of Oak Park served as a nontraditional work setting as he matured into a leader in his field and formulized his iconic design ideology. Here, architecture historian Lisa D. Schrenk breaks the myth of Wright as the lone genius and reveals new insights into his early career. With a rich narrative voice and meticulous detail, Schrenk tracks the practice's evolution: addressing how the studio fit into the Chicago-area design scene; identifying the other architects working there and their contributions; and exploring how the suburban setting and the nearby presence of family influenced office life. Built as an addition to his 1889 shingle-style home, Wright's studio was a core site for the ideological development of the prairie house, one of the first truly American forms of residential architecture. Schrenk documents the educational atmosphere of Wright's office in the context of his developing design ideology, revealing three phases as he transitioned from colleague to leader. This heavily illustrated book includes a detailed discussion of the physical changes Wright made to the building and how they informed his architectural thinking and educational practices. Schrenk also addresses the later transformations of the building, including into an art center in the 1930s, its restoration in the 1970s and 80s, and its current use as a historic house museum. Based on significant archival research, including interviews with Wright's family and 180 images, The Oak Park Studio of Frank Lloyd Wright offers the first comprehensive look at the early independent office of one of the world's most influential architects.

Examining the wide-ranging implications of Ruskin's engagement with his contemporaries and followers, this collection is organized around three related themes: Ruskin's intellectual legacy and the extent to which its address to working men and women and children was realised in practice; Ruskin's followers and their sites of influence, especially those related to the formation of collections, museums, archives and galleries representing values and ideas associated with Ruskin; and the extent to which Ruskin's work constructed a world-wide network of followers, movements and social gestures that acknowledge his authority and influence. As the introduction shows, Ruskin's continuing digital presence is striking and makes a case for Ruskin's persistent presence. The collection begins with essays on Ruskin's intellectual presence in nineteenth-century thought, with some emphasis on his interest in the education of women. This section is followed by one on Ruskin's followers from the mid-nineteenth century into twentieth-century modernism that looks at a broad range of cultural activities that sought to further, repudiate, or exemplify Ruskin's work and teaching. Working-class education, the Ruskinian periodical, plays, and science fiction are all considered along with the Bloomsbury Group's engagement with Ruskin's thought and writing. Essays on Ruskin abroad-in America, Australia, and India round out the collection.

The first detailed study of "Neo-Antique" architecture applies an archaeological lens to the study of New York City's structures Since the city's inception, New Yorkers have deliberately and purposefully engaged with ancient architecture to design and erect many of its most iconic buildings and monuments, including Grand Central Terminal and the Soldiers' and Sailors' Memorial Arch in Brooklyn, as well as forgotten gems such as Snug Harbor on Staten Island and the Gould Memorial Library in the Bronx. Antiquity in Gotham interprets the various ways ancient architecture was re-conceived in New York City from the eighteenth century to the early twenty-first century. Contextualizing New York's Neo-Antique architecture within larger American architectural trends, author Elizabeth Macaulay-Lewis applies an archaeological lens to the study of the New York buildings that incorporated these various models in their design, bringing together these diverse sources of inspiration into a single continuum. Antiquity in Gotham explores how ancient architecture communicated the political ideals of the new republic through the adaptation of Greek and Roman architecture, how Egyptian temples conveyed the city's new technological achievements, and how the ancient Near East served many artistic masters, decorating the interiors of glitzy Gilded Age restaurants and the tops of skyscrapers. Rather than classifying neo-classical (and Greek Revival), Egyptianizing, and architecture inspired by the ancient Near East into distinct categories, Macaulay-Lewis applies the Neo-Antique framework that considers the similarities and differences-intellectually, conceptually, and chronologically-among the reception of these different architectural traditions. This fundamentally interdisciplinary project draws upon all available evidence and archival materials-such as the letters and memos of architects and their patrons, and the commentary in contemporary newspapers and magazines-to provide a lively multi-dimensional analysis that examines not only the city's ancient buildings and rooms themselves but also how New Yorkers envisaged them, lived in them, talked about them, and reacted to them. Antiquity offered New Yorkers architecture with flexible aesthetic, functional, cultural, and intellectual resonances-whether it be the democratic ideals of Periclean Athens, the technological might of Pharaonic Egypt, or the majesty of Imperial Rome. The result of these dialogues with ancient architectural forms was the creation of innovative architecture that has defined New York City's skyline throughout its history.

Since opening in 2003, the revolutionary urban design of Federation Square, Melbourne has captured the imagination of visitors and residents alike. At the heart of its appeal is Nearamnew, a 7500 square metre ground pattern woven into the fabric of the square's main plaza. In collaboration, artist Paul Carter and Lab architecture studio have produced a complex poetic sculpture that is public artwork at its best. As pedestrians cross its patterned surface, they are invited to participate, to stop and read the text, to feel the texture embedded within, to play hopscotch in ""The Child's Vision"", to experience the work from within. ""Mythform"" tells the story of how this extraordinary work was conceived, developed and installed. A selection from some of the hundreds of studies, drawings and plans made over the four years of design and construction allow the reader 'behind the scenes' into the making of this immense project; the detailed photographs reveal the beauty of the design at all stages of its progress and Paul Carter's commentary provides insights into how the 'concrete poems' commemorate the extraordinary wealth of myth, legend and dream associated with Federation Square.

Britain has an immense range of environmental law and the reputation for largely ignoring it. John McCormick describes the fascinating story of the political growth of that law, and the pressures, the compromises, the parliamentary and civil service opportunism that allowed the edifice to grow over the greater part of a century. He tells the story of the absolute change in political climate over the last ten years and deciphers the nature of Thatcher's ''conversion'' to greenery. He explains why everyone who cared about the environment became embattled and, above all, how the old methods of sensible compromise were banished, probably for ever, not least because of the government's obsession with secrecy. What, then, are the new political means of compelling change on a reluctant parliament? Everything is at stake from welfare to water, from forests to fishing. Where are we now? What are the likely pressures, both internal and from Europe and the rest of the world, to make Britain pass more environmentally sound laws and, perhaps more importantly, to observe them? McCormick provides a gripping picture of the central issues, of the system and of the battleground. Originally published in 1991

Winner of the 2016 Antoinette Forrester Downing Award presented by the Society of Architectural Historians. In many cities across the world, particularly in Europe, old buildings form a prominent part of the built environment, and we often take it for granted that their contribution is intrinsically positive. How has that widely-shared belief come about, and is its continued general acceptance inevitable? Certainly, ancient structures have long been treated with care and reverence in many societies, including classical Rome and Greece. But only in modern Europe and America, in the last two centuries, has this care been elaborated and energised into a forceful, dynamic ideology: a 'Conservation Movement', infused with a sense of historical destiny and loss, that paradoxically shared many of the characteristics of Enlightenment modernity. The close inter-relationship between conservation and modern civilisation was most dramatically heightened in periods of war or social upheaval, beginning with the French Revolution, and rising to a tragic climax in the 20th-century age of totalitarian extremism; more recently the troubled relationship of 'heritage' and global commercialism has become dominant. Miles Glendinning's new book authoritatively presents, for the first time, the entire history of this architectural Conservation Movement, and traces its dramatic fluctuations in ideas and popularity, ending by questioning whether its recent international ascendancy can last indefinitely.

Design and Spirituality examines the philosophical context of our current situation and argues for a re-establishment and re-affirmation of self-transcending priorities, together with an ethos of moderation and sufficiency. It covers a wide range of topics broadly related to the main theme, including material culture and spiritual teachings; sustainability and the spiritual perspective; traditional and indigenous knowledge; technology and spirituality; notions of meaningful design; and the deeper, symbolic significance of (some) material things. The author is a leading thinker in the field and he presents his arguments in a manner that invites the reader to reflect and to think about where we are going, why we are going there and what really matters.

Reconstruction and the Synthesis of the Arts in France, 1944-1962 considers the artistic, architectural and bureaucratic shifts that emerged in the troubled aftermath of World War II and in the first years of the cold war. Focused on the modernist networks surrounding Le Corbusier, the Salon des Realites Nouvelles, Groupe Espace, as well as on more radical, neo-avant-garde groups such as the Situationist International, this book casts new light on various artistic collaborations amid the French rebuilding efforts. It asks a series of critical questions: How did the synthesis of the arts discourse lead to a rethinking of the aesthetics of public space in postwar France? How did it participate in the physical reconstruction and modernization of French towns? How can we map the active, interdisciplinary cooperation between French artists, architects and designers on to the new economic challenges and the political unrest that emerged amid the Marshall Plan? Did French artists who called for a synthesis of modern art to architecture develop collaborative practices conducive to new forms of spectator engagement and public address? Finally, how was the avant-garde language of abstraction and polychromy re-envisioned in the context of advanced capitalism, and in what ways was it complicit with, or resistant to, various governmental, corporate and industrial projects?

In the last two decades, research on spatial paradigms and practices has gained momentum across disciplines and vastly different periods, including the field of medieval studies. Responding to this 'spatial turn' in the humanities, the essays collected here generate new ideas about how medieval space was defined, constructed, and practiced in Europe, particularly in France. Essays are grouped thematically and in three parts, from specific sites, through the broader shaping of territory by means of socially constructed networks, to the larger geographical realm. The resulting collection builds on existing scholarship but brings new insight, situating medieval constructions of space in relation to contemporary conceptions of the subject.

Heritage Conservation in Postcolonial India seeks to position the conservation profession within historical, theoretical, and methodological frames to demonstrate how the field has evolved in the postcolonial decades and follow its various trajectories in research, education, advocacy, and practice. Split into four sections, this book covers important themes of institutional and programmatic developments in the field of conservation; critical and contemporary challenges facing the profession; emerging trends in practice that seek to address contemporary challenges; and sustainable solutions to conservation issues. The cases featured within the book elucidate the evolution of the heritage conservation profession, clarifying the role of key players at the central, state, and local level, and considering intangible, minority, colonial, modern, and vernacular heritages among others. This book also showcases unique strands of conservation practice in the postcolonial decades to demonstrate the range, scope, and multiple avenues of development in the last seven decades. An ideal read for those interested in architecture, planning, historic preservation, urban studies, and South Asian studies.

Walking Cities: London (second edition) brings together a new interdisciplinary field of artists, writers, architects, musicians, human geographers and philosophers to consider how a city walk informs and triggers new processes of making, thinking, researching and communicating. In particular, the book examines how the city contains narratives, knowledge and contested materialities that are best accessed through the act of walking. The varied contributions take the form of short stories, illustrated essays, personal reflections and accounts of walks both real and fictional. While artist and RCA tutor Rut Blees Luxemburg and philosopher Jean-Luc Nancy recount a nocturnal journey from Shoreditch to the City of London; architect Peter St John of the practice Caruso St John offers a detailed and personal reflection on the Holloway Road; and architect and author Douglas Murphy examines what he calls London's 'more politically charged locations' in his account of a solitary walk through an area of South London. Ultimately, Walking Cities: London seeks to understand the wider significance of changing geographies to generate critical questions and creative perspectives for navigating the social and political impact of rapid urban change.