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From Berlin to Boston, and St Petersburg to Sydney, ancient Egyptian art fills the galleries of some of the world's greatest museums, while the architecture of Egyptian temples and pyramids has attracted tourists to Egypt for centuries. But what did Egyptian art and architecture mean to the people who first made and used it - and why has it had such an enduring appeal? In this Very Short Introduction, Christina Riggs explores the visual arts produced in Egypt over a span of some 4,000 years. The stories behind these objects and buildings have much to tell us about how people in ancient Egypt lived their lives in relation to each other, the natural environment, and the world of the gods. Demonstrating how ancient Egypt has fascinated Western audiences over the centuries with its impressive pyramids, eerie mummies, and distinctive visual style, Riggs considers the relationship between ancient Egypt and the modern world. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
In "Housing Problems," Susan Bernstein studies the actual houses of Goethe, Walpole, and Freud alongside textual articulations of the architectonic problems of design, containment, shelter, and fragmentation. The linking of "text" and "house" brings into focus the historical tradition that has established a symmetry between design and instance, interior and exterior, author and house--an often unexamined fantasy of historicism. Taking as its point of departure Goethe's efforts to establish such a synthesis through the concept of "Bildung," the book traces the destabilization of this symmetry between house and self in Gothic literature and in narratives surrounding the founding of psychoanalysis. The interest in architecture holds open the tension between the generalizing figures of architectonics and the singular quality of housing features. These continue to mark theoretical thinking even as they dissolve and withdraw, as in Heidegger's "house of Being."
The Renaissance in the 19th Century examines the Italian Renaissance revival as a Pan-European critique: a commentary on and reshaping of a nineteenth-century present that is perceived as deeply problematic. The revival, located between historical nostalgia and critique of the contemporary world, swept the humanistic disciplines-history, literature, music, art, architecture, collecting. The Italian Renaissance revival marked the oeuvre of a group of figures as diverse as J.-D. Ingres and E. M. Forster, Heinrich Geymuller and Adolf von Hildebrand, Jules Michelet and Jacob Burckhardt, H. H. Richardson and R. M. Rilke, Giosue Carducci and De Sanctis. Though some perceived the Italian Renaissance as a Golden Age, a model for the present, others cast it as a negative example, contrasting the resurgence of the arts with the decadence of society and the loss of an ethical and political conscience. The triumphalist model had its detractors, and the reaction to the Renaissance was more complex than it may at first have appeared. Through a series of essays by a group of international scholars, volume editors Lina Bolzoni and Alina Payne recover the multidimensionality of the reaction to, transformation of, and commentary on the connections between the Italian Renaissance and nineteenth-century modernity. The essays look from within (by Italians) and from without (by foreigners, expatriates, travelers, and scholars), comparing different visions and interpretations.
The East Sussex volume of The Buildings of England covers an area ranging from the High Weald in the north of the county to the massive ridge of the South Downs and the resort towns and ancient ports of the coast. Its coastal resorts are particularly distinguished, none more so than Brighton and Hove, where John Nash's oriental Pavilion for the Prince Regent sets the tone. Elsewhere castles at Camber, Bodiam and fortified town walls at Rye and Winchelsea attest to its military past and Battle Abbey to its medieval endowments. The towns and villages are especially rich in timber-framed, brick and tile houses for which the county is famous. The twentieth century makes its mark in the exhilarating De La Warr Pavilion at Bexhill, and the uncompromising forms of the 1960s University of Sussex campus.
This is the first textbook for architectural drawing with the computer that is based on understanding how digital drawing fundamentally differs from drawing with lead pencils on drafting boards. "Cinemetrics: Architectural Drawing Today" demonstrates a cinematically-inspired, cybernetically imaged, architectural drawing system for thinking about architecture as embedded in relationships within the world at large. It opens up the possibility of inventing new ways of building as framing flowing matter in order to live a philosophy of ?newness?. The authors, who have for fifteen years collaborated in teaching architectural students, link the architectural drawing text with research in the expanded field of architecture, which includes neurology, biology, ecology, physics, sustainability and philosophy. The book is written in an accessible and direct tone. Providing both an understanding of the visual perception behind drawing and practical exercises, it is set to become the key text book on the subject at both undergraduate and graduate level. It is highly illustrated with black and white diagrams and drawings.Praise for Cinemetrics
Sulan Kolatan, Max Fisher Visiting Professor at University of Michigan and Partner in KOL/MAC LLC, and William Mac Donald, Professor and Chair of Graduate Architecture and Urban Design at School of Architecture, Pratt Institute, and Partner in KOL/MAC LLC:
'By progressively positioning their architectural research on "digital drawing" as contemporary cultural practice, Brian Mc Grath and Jean Gardner demonstrate not only a unique lateral intelligence but ? to paraphrase George Lang's declaration that tradition is a conspiracy often used to keep the future from happening-? ensure that the future is happening.now. This daringly analytical book precisely and effectively delineates heretofore hidden systems of emergent relations between ideology, methodology, representation, and production.?
Joan Ockman, Director of the Temple Hoyne Buell Center for the Study of American Architecture, Graduate School of Architecture, Planning and Preservation, Columbia University:
?With this engaging, mind-expanding, and original guide to contemporary modalities of visualizing and representing architecture, the authors usher the not-yet-initiated into the digital design age.?
Mark Robbins, Dean and Professor, Syracuse University School of Architecture
?"Cinemetrics" extends the parameters of representation by drawing on aspects of media, film and video. This book is an addition to the lineage of expanding the pictorial field - the Nude Descending a Staircase meeting the battleship Potempkin. The digital drawing methodology produces an explosive shattering of architectural space and reflects the understanding of multiple vantage points and the simultaneity of events in the manner of postmodern literature and filmmakers such as Godard. These drawings have the power to communicate as seductively as the moving image how architecture, space, inhabitation, perception and experience unfold over time. The book offers new ways to analyze space and more importantly new ways of generating it.?
Professor Neil Spiller, Professor of Architecture and Digital Theory, Vice Dean, Bartlett School of Architecture, University College London:
?In a world of change, fluctuating points of view, duration and virtuality, it is vital for designers to reassess the representation of their work in new and non-orthogonal ways, This book addresses this most fundamental of design questions and explains various representational protocols for the designer at the cusp of the twenty-first century. A must have book.?
Susan S Szenasy, Editor in Chief, "Metropolis Magazine"
?A new generation of architects and designers has turned form the drafting table to computer drafting and design, seemingly seamlessly and without much turmoil. But, in reality, a whole new way of thinking about architecture has developed--the computer is changing way designers see the physical world. "Cinemetrics: Architectural Drawing Today" discusses the theory and practice of design in the digital age.
Kim Tanzer, Association of Collegiate Schools of Architecture (ACSA) President 2007-08; Professor of Architect, University of Florida
?Five hundred years from now architects may look at "Cinemetrics" the way today's architects look at Alberti's "On Painting"--as a critical point of disciplinary redirection. In fact, if architecture is still being built 500 years from now it may well be a result of the cognitive shift McGrath and Gardner propose, asking us to ?lose perspective and find duration.? In the process of laying out a concrete set of design strategies, this book makes original connections between theory and ecology, science and art, technology and touch.?
Karen Van Lengen
Dean and Edward E Elson Professor of School of Architecture, University of Virginia:
?This is a serious and timely book that proposes new methods of representation for designers working in the digital age. The ?moving drawing system? celebrates the designer as a multidimensional thinker, a networked thinker, a flux conductor in search of new relationships and possibilities for cultural and environmental design. This book, with its stunning and sophisticated visual documentation, is destined to be an essential resource for the next generation of designers.?
Michael Weinstock, Academic Head and Master of Technical Studies, Architectural Association School of Architecture: 'The presentation of a drawing system based on a cinematic understanding of the dynamics of architectural space is admirably clear, and the system has the potential to generate new spaces.?
Architecture is often thought to be a diary of a society, filled
with symbolic representations of specific cultural moments.
However, as Craig L. Wilkins observes, that diary includes far too
few narratives of the diverse cultures in U.S. society. Wilkins
states that the discipline of architecture has a resistance to
African Americans at every level, from the startlingly small number
of architecture students to the paltry number of registered
architects in the United States today.
Clever and sometimes even breathtaking, these new spaces promote new forms of work, creativity, and collaboration. The way we work is currently undergoing fundamental changes. Thanks to globalization and digitalization on the one hand and evolving corporate cultures, collaboration methods, working procedures, and hierarchical structures on the other, a range of new opportunities are opening up for both employers and employees. These promising possibilities, however, bring along significant challenges for the architecture of our workplaces --and those who would like to use them. Workscape reveals how the architecture of our working world is changing to keep up with these new developments. The book features an outstanding selection of examples from world-famous architects who are implementing projects for large, innovative firms, and pushing architectonic and aesthetic boundaries in the process. These include oMA / Rem Koolhaas for McKinsey & Company in Hong Kong, Meyer Scherer & Rockcastle for the Urban Outfitters' campus in Philadelphia, Hofman Dujardin Architects for eneco's headquarters in Rotterdam, and 3Xn for saxo Bank in Copenhagen. This comprehensive survey showcases individual workplaces from executive suites to open-plan offices as well as conference rooms, spaces that facilitate teamwork, representative foyers, and functional surfaces. The book includes key locations for the more informal exchange of information including kitchenettes, lounges, and break rooms. In addition to documenting working environments, Workscape also explores unconventional parameters that can make a workplace more attractive and that reflect new developments in the business world such as company-run childcare facilities, lunchrooms serving organic food, and corporate parking lots with charging stations for electric vehicles. Workscape features compelling examples from global corporations, innovative medium-sized enterprises, and small creative studios. The book even includes extensive documentation of the specific features of temporary structures such as incubators for start-ups or co-working spaces for freelancers. Its thought-provoking overview of working environments for today and tomorrow makes Workscape an invaluable reference for architects, interior designers, and product designers as well as companies and employees who are looking to redefine their workplaces, impress their partners and clients, and inspire their staff.
The county's remarkable and richly varied military architecutre, from Hadrian's Wall to Warkworth, contrasts with monastic ruins buried deep in the valleys of the Coquet and the Aln or standing proudly by the sea at Holy Island and Tynemouth. Newcastle upon Tyne has the most elegant nineteenth-century city centre in England. Elsewhere the distinctive smaller towns include Alnwick, dominated by its castle, Hexham with its priory, brick-built Morpeth, and Berwick-upon-Tweed, ringed with exceptional sixteenth-century fortifications. Great country houses range from Vanbrugh's theatrical Seaton Delaval to Sir Charles Monck's austere Belsay and Norman Shaw's romantic Cragside. Monuments of a great industrial past, as well as a wealth of smaller buildings, such as bastle houses (peelhouses or stronghouses unique to the Border country), are all vividly described in this revised guide to Northumberland's architectural pleasures.
From the Middle Ages, when this historic market town grew as a thriving centre of the wool industry, to its current status as a popular tourist destination and cultural and retail hub for West Suffolk, Bury St Edmunds has a proud and distinctive identity. This extraordinary history is embodied in the many fine buildings that have shaped the town. Bury St Edmunds in 50 Buildings explores the history of this rich and vibrant community through a selection of its greatest architectural treasures. From the remains of its famous abbey to the new Gothic Revival cathedral tower, built as part of the Millennium Project between 2000 and 2005, this study celebrates Bury St Edmunds' architectural heritage in a new and accessible way. Local author and historian Martyn Taylor guides readers on a tour of the town's historic buildings and modern architectural marvels.
Organized around a series of pedagogical exercises, this book provides a visual journey through a series of games architects can play as a means to design. Aimed specifically at beginner design students, learning objectives include: computational thinking and making, introduction to design as an iterative, reflective, and rigorous process, ideas of continuity and discontinuity, and understanding the bias and constraints of analog and digital tooling. The text is simple and straightforward to understand and in addition the author draws explanatory diagrams to elaborate on each exercise's description. He also includes visually compelling student work to provide insight into the possibilities of each exercise. Finally, the book includes eighteen case studies from Europe, the USA, Mexico, and Asia to inspire and inform.
Learning from Las Vegas created a healthy controversy on its appearance in 1972, calling for architects to be more receptive to the tastes and values of "common" people and less immodest in their erections of "heroic," self-aggrandizing monuments.This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work.
Abstract is the yearly publication of work and research from the Columbia University Graduate School of Architecture, Planning and Preservation (GSAPP). Produced through the Office of the Dean Amale Andraos, the archive of student work contains documentation of exceptional projects, selected by faculty at the conclusion of each semester. The 2016 edition highlights research and projects from the School's programs including Architecture; Critical, Curatorial, and Conceptual Practices; Historic Preservation; Urban Planning; Urban Design; and Real Estate Development. This encyclopedic volume is conceived as both an organizational model for the school and a testament to the global distribution of the work included within.
Montage has been hailed as one of the key structural principles of modernity, yet its importance to the history of modern thought about cities and their architecture has never been adequately explored. In this groundbreaking new work, Martino Stierli charts the history of montage in late 19th-century urban and architectural contexts, its application by the early 20th-century avant-gardes, and its eventual appropriation in the postmodern period. With chapters focusing on photomontage, the film theories of Sergei Eisenstein, Mies van der Rohe's spatial experiments, and Rem Koolhaas's use of literary montage in his seminal manifesto Delirious New York (1978), Stierli demonstrates the centrality of montage in modern explorations of space, and in conceiving and representing the contemporary city. Beautifully illustrated, this interdisciplinary book looks at architecture, photography, film, literature, and visual culture, featuring works by artists and architects including Mies, Koolhaas, Paul Citroen, George Grosz, Hannah Hoech, El Lissitzky, and Le Corbusier.
This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
The last 25 years or so have witnessed redevelopment in the City of London on an unprecedented scale, following the deregulation of the financial markets, the so-called 'Big Bang', in the mid-1980s. As the City has earned its place as a true global financial centre, the majority of its office space has been rebuilt, and developers have taken a more adventurous approach, commissioning such leading British and international architects as Norman Foster, Rem Koolhaas, Jean Nouvel and Richard Rogers. New City is the first book to examine in depth the creation of one of the world's largest collections of cutting-edge architecture - not just the prestigious office blocks that have changed the skyline, but also cultural institutions, retail sites and public spaces. Following an introduction that explores the context for the rebuilding of the City, the main part of the book is divided into 12 concise walk-throughs of the major areas. Authoritatively written by a former urban planner and with all-new photography throughout, this is an indispensable architectural guide for professionals and the public alike.
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.
Who are the parties in architecture, engineering, and construction? How do you market architectural services (get the project)? What are the basic project delivery methods? What are the forms of owner/architect and owner/contractor agreements and what services do they cover? How should you charge for your services? How do you set up an office? What insurance, legal, and accounting issues must you consider? What is project management and who should do it? What are zoning and building codes about?
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.
Famous as the birthplace of rugby league and of former Prime Minister Harold Wilson, as well as being the childhood home of Herbert Asquith, Huddersfield rose to prominence during the Industrial Revolution as a major centre of textile production. Evidence of the town's prosperity during the Victorian era can still be seen in the many fine nineteenth-century buildings that can be found around the centre, and in the fact that Huddersfield boasts the third highest number of listed buildings in the country. Huddersfield in 50 Buildings explores the history of this West Yorkshire town through a selection of its greatest architectural treasures. From the magnificent railway station to the stunning new Oastler Buildings, home to the university's School of Music, Humanities and Media, this study celebrates Huddersfield's architectural heritage in a new and accessible way. Local author and architectural historian Christopher Marsden and professional photographer Andrew Caveney guide the reader on a tour of the town's historic buildings and modern architectural landmarks.
Whilst there are some studies of architecture in Scotland post-devolution, writings on design are largely non-existent. Designs on Democracy seeks to fill that gap and ranges over the debates concerning architecture, urbanism, design and the Creative and Cultural Industries and the policies, people and places that stimulate and animate them. The book also tells a story about Scotland's creatives -where they work and how their ideas and what they create and design contribute to Scotland's democratic culture and identity.
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