Renowned for his extensive work in architectural history and historic preservation as an educator, scholar, activist, and public lecturer, Richard Longstreth is one of the most important architectural preservationists of the recent past. Looking beyond the Icons offers a generous and diverse selection of his writings over the past twenty-five years. The author explores a variety of topics related to midcentury (ca. 1945-70) preservation efforts, including practical, intellectual, and psychological dilemmas associated with preserving the recent past, preservation-related deficiencies in the urban planning process, and preservation of specific types of buildings. This collection offers a new understanding of the richness and variety of mid-twentieth-century U.S. architecture, landscape, and urbanism, and provides a detailed analysis of both the imperatives for and the challenges involved in preserving this legacy.

Sustainability is flaunted as the answer to innumerable problems posed by environmental and social degradation. However, as epitomised by its role in many modern urban and landscape projects, it often lacks a quality essential to any anthropic space: seduction. Sustainability has to develop its own unique style if it is to compete with the established charms of the unsustainable city. Talking about sustainability as an ethical necessity is a given, but aesthetics and emotions must also come into play. These elements are essential to making the city an attractive place. Paradoxically, in the capitalistic city, aesthetics have much to do with excess and exuberance, surplus production, conspicuous consumption and waste. The research presented in this book stimulates discourse about the importance of aesthetics to urban environments.

This exhibition catalog, Julia Fish: bound by spectrum, presents a fully-illustrated survey of the last decade of Fish's paintings and works on paper. It offers new scholarship around Fish's ongoing project that brings together the disciplines of painting, drawing, and architecture. For three decades, Fish has used her house and its vernacular architecture--a Chicago storefront workspace designed by Theodore Steuben in 1922--as the basis for a system of mapping color, form, and light in paintings and works on paper. Working from close observation, she renders architectural details at actual size and creates a dialog between objective information and subjective response. These works are informed by effects of light in space, time of day, the seasons, cardinal direction, and the artist's own physical vantage point. Accompanying the images of Fish's works are essays by Julie Rodrigues Widholm, Kate Nesin, and Colm T ib n, images and text by architect Dan Wheeler, and a selection of the artist's studio notations.

Each month features a different mind-boggling structure, including the Shanghai Tower, 30 St Mary Axe in London, HSB Turning Torso in Sweden, 8 Spruce Street and Via 57 West in New York, One Central Park in Sydney, Zifeng Tower in Nanjing, Fountain Place in Dallas, Sheraton Huzhou Hot Spring Resort in China, Doha Tower in Qatar, Taipei 101 in Taiwan, and the Al Bahr Towers in Abu Dhabi. The opening spread will survey visionary unbuilt structures throughout history, including Adrian Smith's mile-high. Monthly grids include important dates in architectural history, moon phases, as well as major North American, British, and Australian and New Zealand holidays.

296 architectural drawings, floor plans, and photographs illustrate 40 different kinds of "Mission-style" homes from The Craftsman (1901-16), voice of American style of simplicity and organic harmony. Thorough coverage of Craftsman idea in text and picture, now collector's item.

Throughout today's postcolonial world, buildings, monuments, parks, streets, avenues, entire cities even, remain as witness to Britain's once impressive if troubled imperial past. These structures are a conspicuous and near inescapable reminder of that past, and therefore, the built heritage of Britain's former colonial empire is a fundamental part of how we negotiate our postcolonial identities, often lying at the heart of social tension and debate over how that identity is best represented. This volume provides an overview of the architectural and urban transformations that took place across the British Empire between the seventeenth and mid-twentieth centuries. Although much research has been carried out on architecture and urban planning in Britain's empire in recent decades, no single, comprehensive reference source exists. The essays compiled here remedy this deficiency. With its extensive chronological and regional coverage by leading scholars in the field, this volume will quickly become a seminal text for those who study, teach, and research the relationship between empire and the built environment in the British context. It provides an up-to-date account of past and current historiographical approaches toward the study of British imperial and colonial architecture and urbanism, and will prove equally useful to those who study architecture and urbanism in other European imperial and transnational contexts. The volume is divided in two main sections. The first section deals with overarching thematic issues, including building typologies, major genres and periods of activity, networks of expertise and the transmission of ideas, the intersection between planning and politics, as well as the architectural impact of empire on Britain itself. The second section builds on the first by discussing these themes in relation to specific geographical regions, teasing out the variations and continuities observable in context, both practical and theoretical.

This book explores ambivalence in the domestic building activities of a group of East India Company officials in Delhi in the fifty years following British occupation in 1803. Arguing that houses, their location and their contents directly or subliminally reveal the values and beliefs of the individuals who commissioned and lived in them, it uses houses to examine the changing ways the British manipulated power, both relating to and resisting the pre-existing spatial layout of the city. The re-use of palaces and of monumental religious structures as dwellings, as well as new houses that appeared formally classical but concealed adaptations to local ways of living, show that despite an apparent desire to maintain cultural separation, there was both complexity and contradiction in the interrelationship of the British authority and the failing Mughal polity. The book also shows how room sequencing and function demonstrate a lack of rigid distinction between the official and individual roles played by Company officials. Household objects have multiple meanings depending on their use and context. As the taste and choices made in these houses were primarily those of men, the book also contributes to our understanding of competing models of manhood in British India. SYLVIA SHORTO, an independent scholar, was Associate Professor in the Department of Architecture and Design at the American University of Beirut until the end of 2017. She writes on architecture as material culture in colonial contexts, crossing scales from urban environments to individual objects contained in domestic settings.

This book follows the research and design work of three studios of Ali Rahim of Contemporary Architecture Practice, Christopher Sharples, and William Sharples of SHoP Architects. The three studios are united by a focus on the future of mile-high design. Ali Rahim and his students push the boundaries of emergent digital techniques to generate an intelligent design for a high-rise in Dubai. Christopher Sharples asks his studio to redefine the concept of air travel and generate a hybrid airport of the future in New Delhi, India. William Sharples sets the architectural framework for space tourism by researching the commercial spaceport as an urban gateway and catalyst for re-forming the city.

Building Mid-Republican Rome offers a holistic treatment of the development of the Mid-Republican city from 396 to 168 BCE. As Romans established imperial control over Italy and beyond, the city itself radically transformed from an ambitious central Italian settlement into the capital of the Mediterranean world. Seth Bernard describes this transformation in terms of both new urban architecture, much of it unprecedented in form and extent, and new socioeconomic structures, including slavery, coinage, and market-exchange. These physical and historical developments were closely linked: building the Republican city was expensive, and meeting such costs had significant implications for urban society. Building Mid-Republican Rome brings both architectural and socioeconomic developments into a single account of urban change. Bernard, a specialist in the period's history and archaeology, assembles a wide array of evidence, from literary sources to coins, epigraphy, and especially archaeological remains, revealing the period's importance for the decline of the Roman state's reliance on obligation and dependency and the rise of slavery and an urban labor market. This narrative is told through an investigation of the evolving institutional frameworks shaping the organization of public construction. A quantitative model of the costs of the Republican city walls reconstructs their economic impact. A new account of building technology in the period allows for a better understanding of the social and demographic profile of the city's builders. Building Mid-Republican Rome thus provides an innovative synthesis of a major Western city's spatial and historical aspects, shedding much-needed light on a seminal period in Rome's development.

Back in 1997, New Labour came to power amid much talk of regenerating the inner cities left to rot under successive Conservative governments. Over the next decade, British cities became the laboratories of the new enterprise economy: glowing monuments to finance, property speculation, and the service industry until the crash. In A Guide to the New Ruins of Great Britain, Owen Hatherley sets out to explore the wreckage the buildings that epitomized an age of greed and aspiration. From Greenwich to Glasgow, Milton Keynes to Manchester, Hatherley maps the derelict Britain of the 2010s: from riverside apartment complexes, art galleries and amorphous interactive "centers," to shopping malls, call centers and factories turned into expensive lofts. In doing so, he provides a mordant commentary on the urban environment in which we live, work and consume. Scathing, forensic, bleakly humorous, A Guide to the New Ruins of Great Britain is a coruscating autopsy of a get-rich-quick, aspirational politics, a brilliant, architectural "state we're in."

An illuminating collection of essays from the preeminent scholar of architectural history and theory One of the most distinguished scholars in the fields of architectural history and theory today, James Sloss Ackerman is best known for his work on Italian masters such as Palladio and Michelangelo. In this collection of essays, Ackerman offers insight into his formation and development as a scholar, as well as reflections on a range of topics. Concise, lucid, and original, this book presents deep syntheses alongside innovative approaches and a broadening geographical and chronological reach. Ackerman's enduring fascination with architecture was one unforeseen consequence of his military service in World War II, and the collection includes a revealing account of his part in the liberation of Milan as a soldier in the Fifth American Regiment. These essays represent a unique, personal journey-from the Italian Renaissance to the classical architecture of India and the work of Frank Gehry at the new museum of the Fondation Louis Vuitton in Paris.

'An extraordinary achievement . . . gripping, grim and witty' Robert MacFarlane 'A kind of apocalyptic Super Size Me, in which the author force feeds himself a steady diet of paranoia, conspiracy, eschatology and end-times architecture' The Guardian Today, the bunker has become the extreme expression of our greatest fears: from pandemics to climate change and nuclear war. And once you look, it doesn't take long to start seeing bunkers everywhere. In Bunker, acclaimed urban explorer and cultural geographer Bradley Garrett explores the global and rapidly growing movement of 'prepping' for social and environmental collapse, or 'Doomsday'. From the 'dread merchants' hustling safe spaces in the American mid-West to eco-fortresses in Thailand, from geoscrapers to armoured mobile bunkers, Bunker is a brilliant, original and never less than deeply disturbing story from the frontlines of the way we live now: an illuminating reflection on our age of disquiet and dread that brings it into new, sharp focus. The bunker, Garrett shows, is all around us: in malls, airports, gated communities, the vehicles we drive. Most of all, he shows, it's in our minds.

How Berlin captivated Hitler's imagination, and how he sought to redesign the city to align with his obsessions and ambitions From his first visit to Berlin in 1916, Hitler was preoccupied and fascinated by Germany's great capital city. In this vivid and entirely new account of Hitler's relationship with Berlin, Thomas Friedrich explores how Hitler identified with the city, how his political aspirations were reflected in architectural aspirations for the capital, and how Berlin surprisingly influenced the development of Hitler's political ideas. A leading expert on the twentieth-century history of Berlin, Friedrich employs new and little-known German sources to track Hitler's attitudes and plans for the city. Even while he despised both the cosmopolitan culture of the Weimar Republic and the profound Jewish influence on the city, Hitler was drawn to the grandiosity of its architecture and its imperial spirit. He dreamed of transforming Berlin into a capital that would reflect his autocracy, and he used the city for such varied purposes as testing his anti-Semitic policies and demonstrating the might of the Third Reich. Illuminating Berlin's burdened years under Nazi subjection, Friedrich offers new understandings of Hitler and his politics, architectural views, and artistic opinions.

The strange cries heard at night in a dilapidated penitentiary, the glimpse of a 'White Lady' floating through a graveyard, the face at the window in a room that has been locked for decades - stories of hauntings never cease to intrigue us. From palaces to prisons, from an 11th century chateau in France to 'The Island of the Dolls' in Mexico City, Haunted Places features the world's most fascinating spooky locations. Some hauntings are recent, others are ancient, but all the stories are striking: from the deceased monks who pace the boundaries of a ruined former priory, to the lift operator in a Canadian hotel still working his shift decades after he died, to the infamous Vlad the Impaler, who haunts a Romanian castle where he was imprisoned for seven years. With tales of the 'Mad Old Woman' who searches Highgate cemetery in London for the children she supposedly murdered to strange laughter heard at night, from apparitions to floating orbs to radios suddenly changing station, Haunted Places features 150 outstanding photographs of haunted sites. Each eerie photograph is accompanied by a caption explaining the story of the haunting, from tragic accidents to brutal murders, from executions to disease and other sorrowful endings.

The OfficeUS Atlas collects the exhibition research in an archive of nearly 1000 architectural projects. Organized according to individual firm histories, the Atlas documents the development of U.S. architectural offices working abroad from 1914 to the present. Offices and their projects are illustrated by over 1200 photographs and architectural drawings. OfficeUS, the U.S. Pavilion for the 2014 International Architecture Exhibition - la Biennale di Venezia, reframes the history of U.S. architecture through the lens of export in two interrelated constructs: "The Office" and "The Repository." The Repository presents 1000 projects designed by 200 US offices working abroad in a chronological archive of the last 100 years. Collectively these projects tell multiple, imbricated stories of U.S. firms, typologies, and technologies, as well as a broader narrative of modernization and its global reach. The Office engages these projects, revisiting their premises and conclusions over the course of the Biennale. It functions as a laboratory staffed by a diverse group of resident design partners collaborating with outpost offices and a rotating cast of visiting experts. Together, these two halves of OfficeUS create both an historical record of the U.S. contribution to global architectural thought, and a petri dish in which that record is submitted to contemporary agents of disruption and critique.

Prepare flawless construction documents every time. How would you like to save up to 50% of the time and money spent on design services for your next building project? Working Drawing Manual, by Fred A. Stitt, gives you systematic checklists for quickly organizing and managing
the huge mass of data needed to prepare accurate construction documents for any new building. Guaranteed to help you avoid costly delays, changes, job-site miscommunications and lawsuits, these handy checklists make it a snap to plan the scope and content of each set of
drawings...decide exactly what needs to be drawn...and understand how each item in a drawing relates to others. With this easy-to-use guide, you can: make quick work of site plans, floor plans, interior and exterior elevations, roof plans, building cross sections, reflected
ceiling plans, schedules, details and wall sections; stay on top of new technologies and code requirements; get up to speed on the New Uniform Drawing Format & CADD Layering Guidelines; improve your skills with the AIA CEU self-study module; and much more!

This architectural guide brings together 100 of the most original structures built in New York City since 1999. Vladimir Belogolovsky pairs them with such nicknames as Guillotine, Peacock, Shark's Fin, Turtle Shell, and Woodpecker. The New York-based author's selection covers buildings realized by the world's most renowned architects in a period when their creations were celebrated as art, and personal styles were encouraged by the media, critics, and clients. The featured time span begins with the rise of the starchitect in the late 1990s, and ends in the present day. But the mission of the book is not only to document; it is also to celebrate New York's transformative energy. Many of the buildings were designed either by foreign architects or those who settled in the city and now call it home. Through witty, incisive commentary, catchy nick-names, and quotes from the author's interviews with the architects, this singular guide allows readers to see many of New York's contemporary icons in a new way.

Neil Levine's study of the architecture of Frank Lloyd Wright, beginning with his work in Oak Park in the late 1880s and culminating in the construction of the Guggenheim museum in New York and the Marin County Civic Center in the 1950s, if the first comprehensive and in-depth analysis of the architect's entire career since the opening of the Wright Archives over a decade ago. The most celebrated and prolific of modern architects, Wright built more than four hundred buildings and designed at least twice as many more. The characteristic features of his work--the open plan, dynamic space, fragmented volumes, natural materials, and integral structure--established the basic way that we think about modern architecture. For a general audience, this engaging book provides an introduction to Wright's remarkable accomplishments, as seen against the background of his eventful and often tragic life. For the architect or the architectural historian, it will be an important source of new insights into the development of Wright's whole body of work. It integrates biographical and historical material in a chronologically ordered framework that makes sense of his enormously varied career, and it provides over four hundred illustrations running parallel to the text.

Levine conveys the meanings of the continuities and changes that he sees I Wright's architecture and thought by focusing successive chapters on his most significant buildings, such as the Winslow House, Taliesin, Hollyhock House, Fallingwater, Tailsen west, and the Guggenheim Museum. A new understanding of the representational imagery and narrative structure of Wright's work, along with a much-needed reconsideration of its historical and contextual underpinnings, gives this study a unique place in the writings on Wright. In contrast to the emphasis a previous generation of critics and historians placed on Wright's earlier buildings, this book offers a broader perspective that sees Wright's later work as the culmination of his earlier efforts and the basis for a new understanding of the centrality of his career to the evolution of modern architecture as a whole.

The city has become an important new starting point in the quest for architecture. At a time of extreme urbanisation, unharnessed urban growth has led many architects to rethink the way that buildings are designed for the global metropolis. It is no longer practical or desirable to impose the standardised, idealized planning of the 20th century. Rather than viewing the city as a fixed entity, architects are now seeking direct inspiration from the existing urban environment and learning from its ever-changing state that resists predetermination. The city, in all its complexity, has become a realm of invention and a space for possibilities where new designs can be tested. This is as apparent in the work that architects are undertaking in the informal settlements, or favelas, of Latin America, as in the more regulated spaces of Chicago, London or Tokyo. Favouring an inclusive way of viewing the city, no aspect of the urban world is any longer rejected outright, and architects and urban designers instead find potential and learn from the underlying dynamics of the contemporary city. This attitude highlights the generative capacities of the city and finds new ways of engaging it. At the very least, it advances an architectural thinking that engages the city on its own ground, abets its potential and seeks opportunities in the existing condition.

- Featured architects: Kunle Adeyemi/NLE, Atelier Bow-Wow, Jürgen Mayer H, Normal Architecture Office (NAO), Adriaan Geuze/West 8, Ron Witte/WW, UrbanLab, Sean Lally/Weathers, and OMA.

- Key contributors: Keller Easterling, Jiang Jun, Albert Pope, Michelle Provoost/Crimson, Robert Somol, Kyong Park, Jesse LeCavalier, Daniela Fabricius and Bernard Tschumi (interview).

BIM (Building Information Modelling) is revolutionising architecture and construction, as more and more practices are realising the benefits it brings to design, sustainability, and construction. There is a perception that BIM is a process best left to large practices - requiring significant resources and the ability to invest heavily in IT. This book overturns that misconception: introducing a selection of inspirational BIM-enabled projects by small architectural practices. Full of practical tips and hard-won experience, BIM in Small Practices: Illustrated Case Studies includes pithy contributions from industry experts who identify and explore the important issues for small practices including how to get your practice started with BIM, and how it aligns to the new Plan of Work. This landmark publication will motivate small practices who are considering taking those first steps towards implementing BIM.

The classic architectural drawing compendium--now in a richly updated edition

Today's most comprehensive compendium of architectural drawing types and methods, both hand drawn and computer generated, "Architectural Drawing: A Visual Compendium of Types and Methods" remains a one-of-a-kind visual reference and an outstanding source of guidance and inspiration for students and professionals at every level.

This "Fourth Edition" has been thoroughly updated to reflect the growing influence of digital drawing. Features include: More than 1,500 drawings and photographs that demonstrate the various principles, methods, and types of architectural drawingExamples by an impressive array of notable architects and firms, including Tadao Ando, Asymptote, Santiago Calatrava, Coop Himmelb(l)au, Norman Foster, Frank Gehry, Zaha Hadid, Steven Holl, Arata Isozaki, Toyo Ito, Gudmundur Jonsson, Kohn Pedersen Fox, Ricardo Legorreta, Morphosis, Patkau Architects, Pei Partnership Architects LLP, Renzo Piano, Antoine Predock, SANAA, David Serero, Studio Daniel Libeskind, Studio Gang, Bing Thom, Tod Williams and Billie Tsien, and UN StudioA brand new chapter, "Introduction to the Digital-Manual Interface" which covers how digital and traditional drawing techniques can be used in conjunction with each otherA new chapter on guidelines for portfolio buildingContent organized in a streamlined, easy-to-use fashionSupplementary online instructor resources, including PowerPoint slides tied to the book

"This volume reveals how architects approach drawing as a process wherein ideas are given form. As a tool for teaching, these examples become important in students' understanding of the formal and technical aspects of design thought. In an age of digital technologies, this work emphasizes the intimate relationship that exists between the drawing and its maker, the process between paper, hand, and mind."

--LaRaine Papa Montgomery, Professor of Architecture/Graphics Coordinator, Savannah College of Art and Design

"This book contains a wealth of information on architectural graphic communication. My students have found this to be an invaluable resource for graphic presentation techniques ranging from traditional hand drawing to advanced computer graphics. It features an amazingly wide range of examples including both student work and professional work by renowned architects. With the addition of a new chapter on portfolio design, this new edition illustrates the full gamut of graphic communication skills from the conceptual sketch through the documentation of the final portfolio."

--Mark A. Pearson, AIA, LEED AP, Associate Professor of Architecture, College of DuPage

"This book should be in the library of all architecture and design students as well as practicing professionals. The richness and variety of hand-drawn and digital illustrations by students and architects offers deep insight into the many drawing types and methods used today. The section on portfolios is a helpful and timely addition."

--Professor Michael Hagge, Chair, Department of Architecture, The University of Memphis