The first Pevsner volume to explore the Isle of Man's unique architectural inheritance The Isle of Man has had many incarnations - a land of Celtic monks, the realm of the Norse sea-kings, the petty kingdom of the Earls of Derby, a nest of Georgian smugglers, the retreat of genteel Regency debtors, a major destination for Edwardian North Country holidaymakers, and more recently a "financial centre." All have left their mark on its architecture, from early crosses and medieval castles to the domestic architecture of M. H. Baillie Scott via thatched cottages, yeomen's farmhouses, and promenades of stuccoed hotels. This unique inheritance has never hitherto been given its due either on or off the island. Drawing on much original research, set out in the usual Pevsner gazetteer format, this volume aims to rectify that.

This beautifully illustrated book provides a complete overview of the art of the Southern Netherlands from 1585 to 1700. The author examines the development of Flemish and specifically Antwerp painting, the work of Rubens and other leading masters, and the Antwerp tradition of specialization among painters as well as the sculpture and architecture of this period.
"A major moment of artistic culture has been magisterially sketched by one of its leading authorities."-- Larry Silver, "The Art Book
""Consistently rewarding . . . a book that is going to transform how Flemish art is understood."-- Jeremy Wood, "Apollo Magazine
""As well as examining the output and influence of leading figures such as Rubens and Van Dyke, Vlieghe provides the historical, social and cultural context for the development of history painting and other specializations. . . . This book will attract both the informed and general reader."-- Alison Smith, "Art Newspaper
""Essential for current study of Belgian art."-- "Choice"

This is the first volume of papers devoted to an examination of the relationship between mental health/illness and the construction and experience of space. This historical analysis with contributions from leading experts will enlighten and intrigue in equal measure. The first rigorous scholarly analysis of its kind in book form, it will be of particular interest to the history, psychiatry and architecture communities.

This Dictionary gives a comprehensive survey of the whole range of ancient Near Eastern architecture from the Neolithic round huts in Palestine to the giant temples of Ptolemaic Egypt. Gwendolyn Leick examines the development of the principal styles of ancient architecture within their geographical and historical context, and describes features of major sites such as Ur, Nineveh and Babylon, as well as many of the lesser-known sites. She also covers the variations of typical ancient architectural structures such as pyramids, tombs and houses, details the building material and techniques employed, and clarifies specialist terminology.

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.

Revealing that nineteenth-century photography goes beyond the functional to reflect the aesthetic, intellectual, and cultural concerns of the time, this study proposes that each photographic image of architecture be studied both as a primary visual document and an object of aesthetic inquiry. This multi-faceted approach drives Architecture in Nineteenth-Century Photographs: Essays on Reading a Collection. Despite three decades of post-colonial, post-structuralist and gender-conscious criticism, the study of architectural photography continues to privilege technical virtuosity. This volume offers a thematic exploration of the material, and a socio-historical examination that allows consideration of questions that have not been addressed comprehensively before in a single publication. Themes include exoticism and "armchair tourism"; the absence of women from architectural photography; the role of photographs as commodities; vernacular architecture and the picturesque; and historic preservation, urban renewal, and nationalism. Micheline Nilsen analyzes photographs from France and England"the two countries where photography was invented"and from around the world, representing a corpus of over 10,000 photographs from the Janos Scholz Collection of Nineteenth-Century Photographs of the Snite Museum of Art at the University of Notre Dame.

Recent years have seen major changes in the approach to Computer Aided Design (CAD) in the architectural, engineering and construction (AEC) sector. CAD is increasingly becoming a standard design tool, facilitating lower development costs and a reduced design cycle. Not only does it allow a designer to model designs in two and three dimensions but also to model other dimensions, such as time and cost into designs.

Computer Aided Design Guide for Architecture, Engineering and Construction provides an in-depth explanation of all the common CAD terms and tools used in the AEC sector. It describes each approach to CAD with detailed analysis and practical examples. Analysis is provided of the strength and weaknesses of each application for all members of the project team, followed by review questions and further tasks.

Coverage includes:

• 2D CAD
• 3D CAD
• 4D CAD
• nD modelling
• Building Information Modelling
• parametric design, virtual reality and other areas of future expansion.

With practical examples and step-by step guides, this book is essential reading for students of design and construction, from undergraduate level onwards.

Stephen Sills is renowned for his ability to design not just innovative and beautiful rooms but to establish an all-pervading atmosphere of luxury and calm. Yet the homes he creates are always practical and up to date. He knows that the desire for comfort, functionality, and convenience are constants, but he also understands that the quest for beauty, serenity, and refinement is paramount, and in our ever more frantic and disruptive world only more rare and precious. In his new book, he details all the elements that go into bringing to fruition his harmonious, even poetic vision of living as a creative act. The book serves as an invaluable resource for any design lover or student. It covers the evolution of Sill s style, in many cases honed on numerous projects for the same client, from renovations of historic buildings to ground-up new construction. The designer discusses how he educates his eye, discovers new artisans, and keeps abreast of trends, technology, and material innovations. Plus he reveals some of his favourite resources, from little known foreign auction houses to the discount racks of major American home-furnishing chains. The array of stunning rooms is backed by practical information, and hard-won wisdom gained as Sills career expanded from the design of his own iconic Manhattan studio apartment to vast estates across the United States and in Europe.

This book offers a range of views on spolia and appropriation in art and architecture from fourth-century Rome to the late twentieth century. Using case studies from different historical moments and cultures, contributors test the limits of spolia as a critical category and seek to define its specific character in relation to other forms of artistic appropriation. Several authors explore the ethical issues raised by spoliation and their implications for the evaluation and interpretation of new work made with spolia. The contemporary fascination with spolia is part of a larger cultural preoccupation with reuse, recycling, appropriation and re-presentation in the Western world. All of these practices speak to a desire to make use of pre-existing artifacts (objects, images, expressions) for contemporary purposes. Several essays in this volume focus on the distinction between spolia and other forms of reused objects. While some authors prefer to elide such distinctions, others insist that spolia entail some form of taking, often violent, and a diminution of the source from which they are removed. The book opens with an essay by the scholar most responsible for the popularity of spolia studies in the later twentieth century, Arnold Esch, whose seminal article 'Spolien' was published in 1969. Subsequent essays treat late Roman antiquity, the Eastern Mediterranean and the Western Middle Ages, medieval and modern attitudes to spolia in Southern Asia, the Italian Renaissance, the European Enlightenment, modern America, and contemporary architecture and visual culture.

Glamorgan's long and varied history has left layer upon layer of visible remains. Castles range from remarkable earthworks to magnificent structures such as Cardiff and Caerphilly. Impressive remains of three little known abbeys, at Ewenny, Margam and Neath, together with Llandaff Cathedral, testify to the wealth of the church in the twelfth and thirteenth centuries. The landscaped setting of Penrice Castle preserves a complete Georgian arcadia while Cardiff Castle is the supreme example of an exotic Victorian fantasy. Other major country houses, such as Ruperra and Wenvoe are now evocative ruins. In dramatic contrast are the chapels and workmen's institutes of the Valleys settlements and the landscape of heavy industry. Pride of place is given to Swansea, once a Regency resort, and Cardiff, coal metropolis. Their many fine public buildings are covered, as are their array of churches, chapels, arcades and solid suburban streets. A comprehensive gazetteer of places, in which buildings are described with lively and informed comment, is complemented by a detailed introduction which explains the broader context and builds a complete picture of the area's architectural identity. Glamorgan is the third volume in the Pevsner Buildings of Wales series. Each work is illustrated with numerous maps, plans and photographs, and concludes with Welsh language and architectural glossaries and indexes of artists and places.

Today, there are more than twenty complete zodiacs in Washington, D.C., each one pointing to an extraordinary mystery. David Ovason, who has studied these astrological devices for ten years, now reveals why they have been placed in such abundance in the center of our nation's capital and explains their interconnections. His richly illustrated text tells the story of how Washington, from its foundation in 1791, was linked with the zodiac, with the meaning of certain stars, and with a hidden cosmological symbolism that he uncovers here for the first time.

Fascinating and thoroughly researched, The Secret Architecture of Our Nation 's Capital is an engrossing book that raises provocative questions and otters complex insights into the meanings behind the mysterious symbols in Washington.

Trope Tokyo, the fourth volume in the Trope City Editions series, celebrates the architecture and urban landscapes of this dynamic metropolis fusing the ancient and the ultramodern. The collection highlights the photographic images of emerging and independent photographers from Tokyo and beyond, who through their passion for the craft, creative development, and social media smarts have attracted impressive followings on Instagram. This carefully curated and bound collection of 224 photographs offers a new perspective of Tokyo. Each chapter is accompanied by a map, along with the locations where the photographs were taken. From high above Tokyo Tower to the scramble of Shibuya Crossing, these images command a strong point of view: digitally processed, filtered, toned, de-saturated, sharpened, for a very urban sensibility. Showcasing both the quiet traditionalism and sleek futurism of contemporary Tokyo, the images reveal distinctive and dramatic visions of one of the world's greatest cities.

This book re-examines the role of the sublime across a range of disparate cultural texts, from architecture and art, to literature, digital technology, and film, detailing a worrying trend towards nostalgia and arguing that, although the sublime has the potential to be the most powerful uniting aesthetic force, it currently spreads fear, violence, and retrospection. In exploring contemporary culture, this book touches on the role of architecture to provoke feelings of sublimity, the role of art in the aftermath of destructive events, literature's establishment of the historical moment as a point of sublime transformation and change, and the place of nostalgia and the returning of past practices in digital culture from gaming to popular cinema.

The flowering of Gothic architecture depended to a striking extent on the use of drawing as a tool of design. By drawing precise "blueprints" with simple tools such as the compass and straightedge, Gothic draftsmen were able to develop a linearized architecture of unprecedented complexity and sophistication. Examination of their surviving drawings can provide valuable and remarkably intimate information about the Gothic design process. Gothic drawings include compass pricks, uninked construction lines, and other telltale traces of the draftsman's geometrically based working method. The proportions of the drawings, moreover, are those actually intended by the designer, uncompromised by errors introduced in the construction process. All of these features make these drawings ideal subjects for the study of Gothic design practice, but their geometry has to date received little systematic attention. This book offers a new perspective on Gothic architectural creativity. It shows, in a series of rigorous geometrical case studies, how Gothic design evolved over time, in two senses: in the hours of the draftsman's labor, and across the centuries of the late Middle Ages. In each case study, a series of computer graphics show in unprecedented detail how a medieval designer could have developed his architectural concept step by step, using only basic geometrical operations. Taken together, these analyses demonstrate both remarkable methodological continuity across the Gothic era, and the progressive development of new and sophisticated permutations on venerable design themes. This rich tradition ultimately gave way in the Renaissance not because of any inherent problem with Gothic architecture, but because the visual language of Classicism appealed more directly to the pretensions of Humanist princes than the more abstract geometrical order of Gothic design, as the book's final chapter demonstrates.

This book addresses the critical terminologies of place and space (and their role within medieval studies) in a considered and critical manner, presenting a scholarly introduction written by the editors alongside thematic case studies that address a wide range of visual and textual material. The chapters consider the extant visual and textual sources from the medieval period alongside contemporary scholarly discussions to examine place and space in their wider critical context, and are written by specialists in a range of disciplines including art history, archaeology, history, and literature.

This title was first published in 2002. To date, studies explaining decorative practice in the early modernist period have largely overlooked the work of women artists. For the most part, studies have focused on the denigration of decorative work by leading male artists, frequently dismissed as fashionably feminine. With few exceptions, women have been cast as consumers rather than producers. The first book to examine the decorative strategies of late nineteenth- and early twentieth-century women artists, Women Artists and the Decorative Arts concentrates in particular on women artists who turned to fashion, interior design and artisanal production as ways of critically engaging various aspects of modernity. Women artists and designers played a vital role in developing a broad spectrum of modernist forms. In these essays new light is shed on the practice of such well-known women artists as May Morris, Clarice Cliff, Natacha Rambova, Eileen Gray and Florine Stettheimer, whose decorative practices are linked with a number of fascinating but lesser known figures such as Phoebe Traquair, Mary Watts, Gluck and Laura Nagy.

Museums and Design for Creative Lives questions what we sacrifice when we allow economic imperatives to shape public museums, whilst also considering the implications of these new museum realities. It also asks: how might we instead design for creative lives? Drawing together 28 case studies of museum design spanning 70 years, the book explores the spatial and social forms that comprise these successful examples, as well as the design methodologies through which they were produced. Re-activating a well-trodden history of progressive museum design and raising awareness of the involvement of the built forms in how we feel, think and act, MacLeod provides strategies and methods to actively counter the economisation of museums and a call to museum makers to work beyond the economic and advance this deeply human history of museum making. Museums and Design for Creative Lives will be of great interest to academics and students in museum studies, gallery studies, heritage studies, arts management, communication and architecture and design departments, as well as those interested in understanding more about design as a resource in museums. The book provides a valuable resource for museum leaders and practitioners.

Trope Publishing Company's new Mobile Edition Series identifies fine art photographers shooting in a new way, using mobile devices as their primary tool to capture images, in a category still defining itself. Among the millions of images posted to social media every day, the work of these photographers stands out for its discipline and mastery. Jess Angell - aka Miss Underground - has been involved with Instagram nearly from its beginning. After posting a few shots of her favorite London Underground stations, she realized those images got much more attention than her usual posts, and @missunderground was born. Jess's work celebrates the Underground's beautiful and varied geometry and architecture, as she hunts and waits to capture these normally crowded spaces empty of people. Fall in love with these subterranean spaces as their hidden angles and details are revealed.

This collection of essays presents the exciting and innovative work being done in the field of medieval architectural history by scholars affiliated with AVISTA, one of the most active sponsors of such research in the Anglo-American scholarly community. These studies constitute a snapshot of the range of new interpretive strategies being deployed by researchers in the reassessment of previous scholarship and identification of new modes of inquiry. In recent years, the study of medieval architecture has been transformed by the emergence of new critical perspectives and new technologies. The contributors to this book are among those at the forefront of these developments. Several of the essays present dramatic reinterpretations of canonical monuments including the Abbey of Saint-Denis, Beauvais Cathedral and Notre-Dame in Paris. Others consider broader methodological issues such as the applications of geometry, workshop practice, and the shaping of historical narratives. Still others demonstrate how high-tech scanning and visualization methods can enhance our understanding of construction methods and the behavior of buildings. The publication of this collection of pioneering essays should foster further exploration by clarifying the state of research, by establishing specific historical arguments, and by providing models of inquiry to inspire emerging scholars.

Edward Bulmer is a leading interior designer, architectural historian, and founder of the paint company Natural Paint based in Great Britain. He is perhaps best known for breathing new life into houses with a sympathy that is rooted in a deep understanding of their past, a particular skill that few interior designers possess. He can see where details are missing and unravel a mishmash of periods accumulated over centuries in a historical house. In this, his first book, Bulmer compiles the best from thirty years of work in some of Britain s most famous and grandest homes, including Castle Howard, Broughton Hall, Althorp, Goodwood, Pitshill, and many others. It also includes his work for private clients, highlighting his own stunning home, a laboratory for his practice, in a Queen Anne manor house built in 1700, which Bulmer and his family have spent the last twenty years renovating into a comfortable, practical home perfect for a modern lifestyle. He operates his paint company out of an old granary on the property that he converted into a studio. Bulmer has also revived the farm and turned it into a working organic farm. Written by Bulmer and featuring seventeen houses, among other projects, Bulmer takes readers through his creative and working process in each project, describing in detail how he renovated, decorated, and preserved the home, the problems he encountered and the decisions he and his clients made to solve them, all while sharing tips and secrets that readers can take away for their own home. Tours of these well-lived-in houses, rich with history, are conveyed through the gorgeous photography of Paul Whitbread.

The book is an illustrated collection of projects carried out in silver and gold reflecting the many interesting personal stories that combine people with a place of significance portrayed in miniature for a special event in their lives. This is the story of forty years of making architecturally-based silverware, from small domes and columns on stud earrings to larger bespoke presentation pieces. The author charts her development from student days to acquisitions by the Victoria & Albert Museum and the Boston Museum of Fine Arts amongst others. Her insights into how to render buildings such as the Pantheon in Rome, the Sydney Opera House or Oxford's Sheldonian Theatre into a brooch, a ring or a box make fascinating reading.

This was first published in 2000: A study of John Ruskin's engagement with art and architecture as a critic, a patron and a teacher. It offers insights into both his writings and the visual economy of the Victorian world. Each essay examines Ruskin's relationship with an individual artist or a distinct aspect of art practice. J.M.W. Turner, D.G. Rossetti, W. Holman Hunt and E. Burne-Jones are among those artists discussed whose personal relationships with Ruskin affected his critical writing. Ruskin's attitude to women artists and his approach to the teaching of art are given special attention.

Created in 1933, the Historic American Buildings Society (HABS) federal programme established the first systematic identification and documentation of historic buildings throughout the US. This is a complete history of HABS in New Mexico, an on-going project dedicated to the preservation of four centuries of architecture. The starting point for a more profound understanding of New Mexico legacy of historic architecture and a renewed effort to preserve what remains.