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People associate the term Brutalism with concrete and, in the UK, with the Welfare State - just one thin slice of the Brutalist canon. Brutalism is not a style. It reveals enduring architectural ideas and interests that have emerged at different times and in different places, prompted by social and political ideals and technological conditions. Richly illustrated with unique, high-quality photographs, this book explores Brutalism through the lens of twelve distinct, occasionally competing, definitions, as a living and evolving entity. Redefining Brutalism offers insight into how these buildings were designed and constructed, their underlying social contexts, and how Brutalism triggered various other movements such as High-tech and Postmodernism. This book is a lens through which to see the present as much as the past.
Israeli architecture was and is still influenced by the International Style, and specifically by the Bauhaus school, with some local modifications. The Bauhaus approach to design began permeating into what was then Palestine under the British Mandate, and developed quickly and strongly in the emerging state of Israel. The International Style was introduced into the country by young architects, many of German extraction, some of whom had trained or taught at the Bauhaus, most of whom came with their families to to escape Nazism. Others came from Russia and Poland, competing their studies in Europe, absorbing the then emerging ideas of the International Style. The will to build a new society, uninfluenced by older European traditions caught on readily, and the simple forms of the Bauhaus were applied. Tel Aviv contains up to 1000 buildings in the Bauhaus idiom, designed using simple geometry, usually inexpensive buildings on small, regular, parcels of land. The technologwas also simple, using plastered and stuccoed block and concrete construction in a country lacking the elaboration of more traditional and expensive materials.This book describes a heritage that is only now being co
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.
CHANDIGARH RETHINK captures the rich, ongoing discourse on radically transforming urbanities within the Global South with specific reference to India's social, historical, economic and cultural repositioning. It examines urban edge figures and their rural grounds -- relevant not just to Chandigarh, but also to cities in general -- while suggesting narrative strategies via provocative design studio design work. These introspections are framed within themed contributions from a globally recognized group of scholars who represent the diverse disciplines of architecture, planning, urban design, landscape ecologies and the humanities. As a topical publication on global urbanities transforming a signature urban project, CHANDIGARH RETHINK anticipates the Buildings-Landscapes-Cultures (blc) program and SARUP's efforts to uniquely aligning urban research, pedagogy and critical design practice towards examining global urbanities that continue to defy normative urban analysis. Beyond serving as an exemplar for globally aware architectural schools nationwide and beyond, it is also directed to serve as an instructive primer for design students and instructors examining global urban sites.
Following on from Eric Parry Architects 1+2, which emphasises the practice's history and importance within the architectural world, this latest box set brings readers up-to-date, featuring projects from 2003 to 2018. The set includes Eric Parry Architects 3, which focuses on the company's contribution to not only the architecture, but also the urban regeneration of London, and the brand new Eric Parry Architects 4, which travels across historical institutions at the heart of the city, and explores a dialogue within the field of architecture and the visual arts. The box set features important London projects such 4 Pancras Square, One Eagle Place, Spa at The Four Seasons in Mayfair and the Timothy Taylor Gallery, as well as the Welding Institute in Cambridge, Wells Cathedral School and Brighton College Music School.
In a fleeting 14-year period between two world wars, Germany's Bauhaus School of Art and Design changed the face of modernity. With utopian ideas for the future, the school developed a pioneering fusion of fine art, craftsmanship, and technology, which they applied across media and practices from film to theater, sculpture to ceramics. This book is made in collaboration with the Bauhaus-Archiv/Museum fur Gestaltung in Berlin, the world's largest collection on the history of the Bauhaus. Some 550 illustrations including architectural plans, studies, photographs, sketches, and models record not only the realized works but also the leading principles and personalities of this idealistic creative community through its three successive locations in Weimar, Dessau, and Berlin. From informal shots of group gymnastics to drawings guided by Paul Klee, from extensive architectural plans to an infinitely sleek ashtray by Marianne Brandt, the collection brims with the colors, materials, and geometries that made up the Bauhaus vision of a "total" work of art. As we approach the Bauhaus centennial, this is a defining account of its energy and rigor, not only as a trailblazing movement in modernism but also as a paradigm of art education, where creative expression and cutting-edge ideas led to simultaneously functional and beautiful creations. Featured artists include Josef Albers, Marianne Brandt, Walter Gropius, Gertrud Grunow, Paul Klee, Ludwig Mies van der Rohe, and Lilly Reich.
Technological choices give us ways to bridge the gap between the technical and the cultural, immersing one within the other. The immersion creates a platform for innovation. The techniques that people generate through their use of technology exert pressure on technical refinement and enfold those refinements within culture. Technological choices define a world within which specific alternatives of uses emerge, and they define a subject who chooses among those alternatives. In the making of the world through technology, we simultaneously enact great cultural change. In order for architecture to remain relevant in the future and create a critique of the present it must operate within technology, developing technological practices and design methods that become intrinsic to technology as opposed to applying it to a previously conceived design. The scope and significance of this is potentially enormous. Asset Architecture 3 attempts to illustrate some of the concepts, directions, and practices that have taken on this challenge.
`A lovely book... full of provocative ideas' The Daily Telegraph This book introduces the diverse range of images to be found among the medieval and architectural sculpture at Exeter Cathedral. A striking array of fabulous monsters and exotic beasts, angelic musicians, saints and Green Men appear throughout this unique Gothic building, carved into roof bosses, corbels, capitals and misericords. Blending the most current research with a practical knowledge of working with stone, themed chapters explore the medieval contexts and possible meanings of these carvings, tracing their history and the working lives of the stonemasons and carvers who made them. From plants and dragons to scenes of the Crucifixion, the sculpture at Exeter, particularly that of the late thirteenth and early fourteenth centuries, represents some of the best work in European medieval art. This book provides an accessible and informative guide. `A lovely book... full of provocative ideas' The Daily Telegraph `Full of stimulating material. Woodcock sees the monstrous and the miraculous as interrelated aspects of a world in which the divine was at once unknowable and potentially to be encountered around every corner' Journal of the British Archaeological Association `Clearly written, takes an accessible popular approach and gives a good current overview of the subject' Medieval Archaeology
For the last few decades at least, art and architecture have been controlled by the so called celebrities, who use their publicity machines to impose their dishonest ways on society and the young. The artist now distorts the human face and form, and in so doing, destroys the very beauty that God has created. The musician uses tones that are in disharmony with the natural frequencies of our planet and the human body. Similarly, the architect disregards thousands of years of Mans thoughts, discoveries and experience and creates a bankrupt kind of architecture, driven by computer software, where the presentation becomes more important than the content. A 3D fly-through of anything can make it magical. I have been on many such assessment juries, and have wished that the brief had excluded 3D animation because of its power to deceive and seduce. I have always looked to create timeless architecture, a coherent link from the knowledge and expertise of our forefathers to the as yet undreamt of discoveries of our children yet to be born. I would spend a lot of time thinking of how to avoid the obvious and instead create an enduring architectural form that is relevant to our times. One day, before I went to sleep, I was once again thinking of how to create such a thing. In my sleep I had a dream in which I was driving my car through Andalusia in the south of Spain. To the right were the mountains, to the left, the sea, with the sun in front of me. I usually listen to the Quran when driving, in particular the Qisar Suwer (the short chapters). When the Surah Wash-shamsi wa duhaha came, which deals with the sun, the moon, the earth, mankind and the proper relationship between them, the CD began skipping and repeating the same verse over and over again. No matter how I tried to eject the CD or skip to the next track, it just kept repeating. When I woke up the next day, the energy in me had changed and things came effortlessly to my mind. The mathematics between the moon, the sun and the earth became more clear and the initial idea for the building was born. What follows is the details of its design and construction.
"Architects are trained to see a space before it's realised, so I think photography helps me with that. But I'd also say it's the other way around. My training helps me with the way I photograph. I look at space with a more symmetrical eye, and you see a lot of symmetry in my photos." ~ Vivien Liu Vivien Liu studied architecture at the University of Waterloo and then attended Harvard University's Graduate School of Design, where she was awarded the prestigious Clifford Wong Prize in Housing Design. As an architect, she has worked for nearly a decade in the United States, Canada, the United Kingdom, China and Hong Kong, where she now resides and first took up photography. As a photographer, she quickly developed a strong sensibility portraying space as seen through the first person, which now defines her style. What began as a weekend pastime has transformed Vivien into one of the most prolific urban photographers in Hong Kong, attracting over 240,000 followers on Instagram. Her first book, Being There explores the dialogue and tension between people and spaces through portraiture, landscapes, and street photography, from the urban density of Hong Kong and Tokyo to epic natural landscapes like Zhangjajie, China. With an architect's artful eye, Ms. Liu captures this juxtaposition in the most beautiful way, sharply highlighting her eye for patterns and symmetry across settings.
Exploring this much-loved public park reveals its story. In the Middle Ages, Gunnersbury belonged to the powerful mistress of a medieval king. Prosperous Tudor merchants and City aldermen followed; its first transformation saw the building of a huge Palladian mansion with formal gardens around 1660. After years of neglect it was reborn as a centre of Georgian society; a merchant politician and art collector and then a Hanoverian princess each softened the landscape and built follies. In 1800 the mansion was demolished and development plots sold off; two neighbouring villas emerged which still survive. From 1835 one was home to the banking family who eventually reunited the estate, and this building is now the Gunnersbury Park Museum. Gunnersbury was opened as a public park in 1926. This book marks the completion of the recent and extensive conservation programme - its 21st century transformation - in the lead-up to the Park centenary. Published to coincide with the Gunnersbury Park Museum's reopening in spring/summer 2018. Gunnersbury Park receives 30,000-40,000 visitors per year, and this is expected to rise to as many as 1 million visitors per year after the renovation and conservation programme is completed.
The first European edition of Francis DK Ching's classic visual guide to the basics of building construction.
For nearly four decades, the US publication Building Construction Illustrated has offered an outstanding introduction to the principles of building construction. This new European edition focuses on the construction methods most commonly used in Europe, referring largely to UK Building Regulations overlaid with British and European, while applying Francis DK Ching's clear graphic signature style. It provides a coherent and essential primer, presenting all of the basic concepts underlying building construction and equipping readers with useful guidelines for approaching any new materials or techniques they may encounter.
European Building Construction Illustrated provides a comprehensive and lucid presentation of everything from foundations and floor systems to finish work. Laying out the material and structural choices available, it provides a full understanding of how these choices affect a building′s form and dimensions. Complete with more than 1000 illustrations, the book moves through each of the key stages of the design process, from site selection to building components, mechanical systems and finishes.Illustrated throughout with clear and accurate drawings that effectively communicate construction processes and materialsProvides an overview of the mainstream construction methods used in EuropeBased around the UK regulatory framework, the book refers to European level regulations where appropriate.References leading environmental assessment methods of BREEAM and LEED, while outlining the Passive House StandardIncludes emerging construction methods driven by the sustainability agenda, such as structural insulated panels and insulating concrete formworkFeatures a chapter dedicated to construction in the Middle East, focusing on the Gulf States
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."
Once condemned by Modernism and compared to a 'crime' by Adolf Loos, ornament has made a spectacular return in contemporary architecture. This is typified by the works of well-known architects such as Herzog & de Meuron, Sauerbruch Hutton, Farshid Moussavi Architecture and OMA. There is no doubt that these new ornamental tendencies are inseparable from innovations in computer technology. The proliferation of developments in design software has enabled architects to experiment afresh with texture, colour, pattern and topology.Though inextricably linked with digital tools and culture, Antoine Picon argues that some significant traits in ornament persist from earlier Western architectural traditions. These he defines as the 'subjective' - the human interaction that ornament requires in both its production and its reception - and the political. Contrary to the message conveyed by the founding fathers of modern architecture, traditional ornament was not meant only for pleasure. It conveyed vital information about the designation of buildings as well as about the rank of their owners. As such, it participated in the expression of social values, hierarchies and order. By bringing previous traditions in ornament under scrutiny, Picon makes us question the political issues at stake in today's ornamental revival. What does it tell us about present-day culture? Why are we presently so fearful of meaning in architecture? Could it be that by steering so vehemently away from symbolism, contemporary architecture is evading any explicit contribution to collective values?
Overshadowed by the high-profile splendors of Italy and France, and studied and chronicled almost entirely in Swedish, Sweden s majestic palaces, stately manor houses, and tapestry-like gardens have seemed as remote as the Nordic country itself. On the pages of Classical Swedish Architecture and Interiors 1650 1840, meet such pathbreakers as Nicodemus Tessin the Younger and Carl Harleman and the ambitious, discerning monarchs and aristocrats who commissioned their work. Learn how Sweden s architects and designers mined antique and contemporary southern Europe for styles, techniques, and even artisans; how such marvels as the Royal Palace in Stockholm, Drottningholm, and King Gustav III s beloved Haga took shape and acquired their uniquely Swedish stamp. Step into the rich interiors where Sweden s kings and their consorts received state visitors, stored and displayed treasures, wrote letters and studied science, and laid their heads to sleep. The path of visitors to Sweden scholars and laymen, travelers and armchair explorers alike will be forever changed and expanded by this book. Stops at the more familiar sites will be informed with knowledge of the who, when, why, and how of each antechamber and pavilion, while the lucid text and abundance of brilliant photographs, complementing such historical documents as engravings and architectural renderings, will open roads to rural corners and coastal retreats where Swedish royals, nobles, and privileged commoners basked in the calm of their country mansions and warmed themselves before their handsome Swedish tile stoves."
In 2006, architectural designer and curator Adam Stech embarked on a photographic project to document the best Modernist architecture around the globe. Twenty-five countries and more than a decade later, the fruits of that monumental project are gathered in this impressive collection covering nearly a century of architectural history. Driven by a passion for rediscovering forgotten or lesser known architectural treasures of Modernism, Stech took thousands of diverse photographs of exteriors and interiors. This survey features often overlooked details that Stech helps bring to light. Examples of seating, storage, tables, handrails, lighting, doors, windows, fireplaces, and other decorative or functional elements illustrate how architects imbued every aspect of a building with Modernist ideals. Stech's brief personal commentary reveals insights into his photography such as capturing Le Corbusier's bold use of primary colours, the California vibe of an Albert Frey house, or the over-the-top elegance of Togo Murano's Grand Prince Hotel. Expansive and inspiring, this is destined to become the definitive guide to 20th-century Modernism.
No other contracts are more widely used in the construction industry than the American Institute of Architects' standard forms. "The American Institute of Architects Official Guide to the 2007 AIA Contract Documents" offers unparalleled insight into the AIA's extensive portfolio of contract documents, helping the reader understand the forms and how to implement them.
This guide is divided into two parts: Part One, "The AIA Standard Documents, " examines the role of AIA Contract Documents, their history, and how the documents are written and updated. It also reviews the educational and supporting resources that are part of the AIA's contract documents program; Part Two, "The AIA Documents Companion, " describes agreements in detail, including the purpose and rationale for provisions. Separate chapters cover the owner-contractor, contractor-subcontractor, owner-architect, and architect-consultant agreements. The guide concludes with a chapter describing pivotal legal cases that have helped shape and interpret AIA contracts.
Samples of the most commonly used contracts are in print in the appendix, and an accompanying CD-ROM has samples of all AIA Contract Documents (in PDF format for Mac and PC computers) that released in 2007, as well as the Integrated Project Delivery Family of documents that released in 2008. This book is invaluable for construction project owners, attorneys, contractors, subcontractors, design professionals, and others involved in the procurement, management, and delivery of building projects. It is also recommended for students and young professionals seeking a degree, certification, or licensure.
This book offers the first systematic analysis of the cultural and religious appropriation of Andalusian architecture by Spanish historians during the sixteenth and seventeenth centuries. To date this process of Christian appropriation has generally been discussed as a phenomenon of architectural hybridisation. However, this was a period in which the construction of a Spanish national identity became a key focus of historical discourse. As a result, cultural hybridity encountered partial opposition from those seeking to establish cultural and religious homogeneity. Spain's Islamic past became a major concern in this period and historical writing served as the site for a complex negotiation of identity. Historians and antiquarians used a range of strategies to re-appropriate the meaning of medieval Islamic heritage as befitted the new identity of Spain as a Catholic monarchy and empire. On the one hand, the monuments' Islamic origin was subjected to historical revisions and re-identified as Roman or Phoenician. On the other hand, religious forgeries were invented that staked claims for buildings and cities having been founded by Christians prior to the arrival of the Muslims in Spain. Islamic stones were used as core evidence in debates that shaped the early development of archaeology, and they also became the centre of a historical controversy about the origin of Spain as a nation as well as its ecclesiastical history.
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 third book in the highly successful XS series, XS Extreme considers buildings at the edge of possibility. Sited in remote locations, built to withstand wild climatic conditions, or conceptually daring or provocative, all the structures are original, innovative and instructive. Over forty projects are presented through accessible, witty texts, with plans, drawings and photographs. A reference section gives architect and project information. Like its predecessors, XS Extreme offers striking new ideas at a human scale that will inspire anyone keen to improve the world we build around ourselves.
First published in 1993, this is a fully revised and newly illustrated guide to the architecture of the British Isles during the reigns of the first four Georges (1714-1830). The term 'Georgian' suggests a dignified, often symmetrical facade of brick, with elegant sash-windows, a doorcase (usually with a fanlight), and a well-mannered and reticent appearance. The book shows the remarkable diversity of the architecture created during the era, from the grander Classicism influenced by the architecture of Italy, notably that of Andrea Palladio (1508-80), to the exotic tastes for Chinoiserie, Rococo, Gothick, and even the Indian styles. All of these aspects are discussed, setting the scene in respect of notions concerned with the aesthetic categories of the Beautiful, the Picturesque, and the Sublime and drawing attention especially to the importance of the Picturesque during the Georgian period. This handsome book is a celebration of the main themes found in building-design of the time, and an examination of the stylistic choices of the age: Palladianism, the search for uncorrupted Classical sources through the study of Antiquity, the various revivals of Roman, Greek, and Egyptian styles, the taste for the exotic and for Orientalism, and the growing interest in medieval architecture, monastic remains and ruins which played such an important part in the Gothic Revival. Comprehensively illustrated with many images in colour and supported by an extensive bibliography, this clear and concise text should enable all those interested in the Georgian period to look at the surviving architecture with informed and discerning eyes.
Few buildings carry such a freight of historical symbolism as the Palace of Versailles. First built as a hunting lodge by Louis XIII in the early seventeenth century, then radically repurposed by his absolutist son Louis XIV, Versailles became the focus of that king's centralised power.
Drawing on a new wave of research in recent years, particularly on the buildings and material culture of Versailles, Colin Jones, distinguished historian of early modern France, describes the various building campaigns undertaken by Louis XIV and his formal installation of his court at Versailles in 1682; the ritualized rhythms of life at the court of the Sun King; the palace's variegated fortunes under Revolution, First Empire, Restoration and July Monarchy; its return to the political stage in the Franco-Prussian War; its later role as a venue for treaty signings and proclamations; and its continuing legacy as imposing physical embodiment of the ancien régime.
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