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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.
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.
Research in the creative fields of architecture, design, music and the arts has experienced dynamic development for over two decades. The research in these practice- and arts-based fields has become increasingly mature but has also led to various discussions on what constitutes doctoral proficiency in these fields. The term 'doctorateness' is often used when referring to the assessment of the production of doctoral research and the research competence of research students, but in architecture and the arts, the concept of doctorateness has not yet attained a clearly articulated definition. The assessment of quality has been practiced by way of supervising, mentoring and the evaluation of dissertations but much less discussed. This book offers perspectives on how to qualify and assess research in architecture, music and the arts. It creates a broader arena for discussion on doctorateness by establishing a framework for its application to creative fields. The book is grouped into three sections and includes contributions from international experts in the various fields working in Australia, Belgium, Brazil, Canada, Norway, Sweden, Switzerland, Spain, the Netherlands and the UK. The first section offers general frameworks for further conceptualising doctorateness in the fields in question. It is followed by a section that describes and discusses various experiences, concerns and visions on the production and assessment of doctoral research reporting from doctoral programmes in different stages of development. The third section includes future-oriented perspectives on knowledge-building processes, and asks how the ongoing, profound changes in academia could influence the concept of quality in both doctoral process and product. The book presents different perspectives on research assessment practices and developments of relevant criteria in the practice-based and creative fields of architecture and the arts. The contributions propose ways of framing this issue conceptually, show the need for awareness of the specific context and tradition programmes develop and give proposals for various potential trajectories for the future.
Offices should provide the atmosphere of encouraging creativity and staff energy. Fall in Love with Office features 43 projects from a variety of practices all in full colour with diagrams. Included are cutting edge office designs for Skype, Facebook, Cisco, Google, PwC, Deloitte, MTV and Net-A-Porter
The latest book of minimalist yet richly tactile projects by Dutch architect Bob Manders, illuminating his synergistic approach to light, space, and nature In this book, an inspiring combination of architecture and design, Dutch architect Bob Manders demonstrates how diverse tastes and preferences can harmoniously work together within a particular style or concept. Using nature's infinite variety as his inspiration, he creates structures that can't be easily categorized, and strongly reflect the individuality of his clients. He combines insight into architectural principles of the past with a passion for innovation, considering light and its impact, context, flexibility and versatility. His innovative treatment of space draws on his Dutch heritage, with a respect for light and shadow that acknowledges the connection between the inside and the outside. His designs feature open, fresh and white spaces, but also rooms that are warm, dark and cozy. He addresses the challenge of using all the senses when it comes to architecture, with minimalist designs which sublimely blend the traditional and the modern.
"Point of View New York City" is a photographic exploration of the world s most exciting city. With Janko Puls s unique perspectives, "Point of View New York City" seeks to awaken readers curiosity, challenging them to figure out where and what the photographs depict. "Point of View New York City" explores the many layers of the vast and always-evolving city of New York playground, home, workplace, urban landscape. Made for both locals and tourists alike, this interactive photography book will provide a unique experience for anyone who is interested in the sights of New York City. From the most recognizable landmarks to more obscure locations, the photographs collected here transcend the image of New York City that most are familiar with, diving into little known alleys and more intimate urban locations."
My Small Space is the ultimate guide to moving out on your own--whether that's in a campus dorm, an apartment with four of your friends, a two-bedroom with your buddy, or your very own studio. With photography of all kinds of spaces, smart design tips, interviews with renters, and more, this book proves that size doesn't matter when you have great style.
Learn how to decorate around immovable furniture in a dorm and what to pack (and leave behind) from home. Get creative in a cramped apartrment that you share with others. If you're thinking about living solo, see what it's like to finally be in control of all of the decision making. With tips on making floor plans, picking out color palettes, hanging wall art, choosing a rug, and more, this lookbook will help you feel right at home--wherever that may be.
An evocative interplay of photos and texts, this is a tribute to a pioneer woman photographer, Marjorie Doggett. Born in England, Doggett was a self-taught photographer. She had arrived in Singapore in early 1947, a city she would call home until her death. Starting in the early '50s, camera in hand, she captured the cityscape of Singapore for posterity. In 1957, she published the pioneering collection Characters of Light. It was the first photo book to fully portray Singapore's urban setting and architecture. And it was the first local photographic book by a woman. Marjorie Doggett's Singapore features many of Doggett's unpublished photographs alongside newly restored images from Characters of Light. Accompanying these photos are Edward Stokes's historical and personal texts. Together, the photos and narrative offer an entirely new presentation of Singapore, through the prism of Doggett's life, inspiration, and methods. It is a fitting tribute to a woman whose talents contributed significantly to the preservation of Singapore's historic architecture.
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.
The early modern Mediterranean was an area where many different rich cultural traditions came in contact with each other, and were often forced to co-exist, frequently learning to reap the benefits of co-operation. Orthodox, Roman Catholics, Muslims, Jews, and their interactions all contributed significantly to the cultural development of modern Europe. The aim of this volume is to address, explore, re-examine and re-interpret one specific aspect of this cross-cultural interaction in the Mediterranean - that between the Byzantine East and the (mainly Italian) West. The investigation of this interaction has become increasingly popular in the past few decades, not least due to the relevance it has for cultural exchanges in our present-day society. The starting point is provided by the fall of Constantinople to the troops of the Fourth Crusade in 1204. In the aftermath of the fall, a number of Byzantine territories came under prolonged Latin occupation, an occupation that forced Greeks and Latins to adapt their life socially and religiously to the new status quo. Venetian Crete developed one of the most fertile `bi-cultural' societies, which evolved over 458 years. Its fall to the Ottoman Turks in 1669 marked the end of an era and was hence chosen as the end point for the conference. By sampling case studies from the most representative areas where this interaction took place, the volume highlights the process as well as the significance of its cultural development.
This book is a compendium of the essays presented during the 12th International Bauhaus Colloquium 2013. On the occasion of the 150th anniversary of Henry van de Velde's birthday, the contributions of the 12th International Bauhaus Colloquium highlighted the historic meaning of the Gesamtkunstwerk and its significance in more recent discussions. The Death and Life of the Total Work of Art is conceived as a new interdisciplinary approach to a concept that is not only an important aspect of the Bauhaus, but also a key element of modern architecture and architectural theory in general.
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.
This book examines the work of three seminal Nordic architects - Alvar Aalto, Jorn Utzon and Sverre Fehn - from a phenomenological perspective, utilising the methodology of 'paradigm' (or 'in the manner of''). Roger Tyrrell explains how the approach of each architect is defined by the three sub-frames of the paradigm: that of the 'origin' (arche), that of 'revealing' (techne), and that of 'the poetic conjunction', in order to gain a holistic understanding of the experiential or phenomenological predisposition of the three architects. Using this method the author describes the commonalties and distinctive qualities of the architecture and design methods of Aalto, Utzon and Fehn. The final chapter projects the intellectual heritage of the three protagonists into the contemporary world, examining the work of practices from the UK, Norway and the USA that each extend this particular way of making place.
Examining imagery of urban space in Britain, France and West Germany up to the early 1960s, this book reveals how photography shaped individual architectural projects and national rebuilding efforts alike. Exploring the impact of urban photography at a pivotal moment in contemporary European architecture and culture, this book addresses case studies spanning the destruction of the war to the modernizing reconfiguration of city spaces, including ruin photobooks about bombed cities, architectural photography of housing projects and imagery of urban life from popular photomagazines, as well as internationally-renowned projects like UNESCO's Paris Headquarters, Coventry Cathedral and Berlin's Gedachtniskirche. This book reveals that the ways of seeing shaped in the postwar years by urban photography were a vital aspect of not only discourses on the postwar city, but also debates central to popular culture, from commemoration and modernization to democratization and Europeanization. This book will be fascinating reading for researchers in the fields of photography and visual studies, architectural and urban history, as well as cultural memory and contemporary European history.
"Site Matters" is the first comprehensive theoretical treatment of a crucial concept in urban design, planning, and architecture -- "site." The way that planners and designers have dealt with the term over the years has changed dramatically, yet little has been written on it. Initially, it simply referred the actual physical area in which a building was erected or a delimited space planned. Over the past century, though, it has gradually become a much more complicated concept, referring on occasion to the immediate surroundings of a parcel and on other occasions as part of a broader geographical complex in which different sectors interact with each other. And most recently, the site has come to be understood as a component of broader ecosystems, where the site and the broader system work upon each other. Bringing together some of the leading lights in the design and planning field, Site Matters will be essential for today's planners, designers, and architects, all of whom must wrestle with this concept.
This book takes the reader through Estel s history from the future to the past, working backward in five major phases of the company s progress. These phases are related through various illustrations, best called dioramas, covering double spreads that fold out, making four full-size pages. Especially created for the book by Pierluigi Longo, these dioramas emerge like modern-day frescoes in which the leading figures of the business world can be observed, along with the production panorama and market environment around them. They represent a sort of visualized concept that not only illustrates and tracks a path through the book, but also lends it concept and structure. The texts that follow each theme-diorama pivot successively on the company philosophy, the protagonists, the products, and a brief text classifying the furniture-manufacturing sector itself. Hence, the tale unfolds on two fronts simultaneously, interweaving the company s history with the ongoing developments in the sector and in methods of production.
The first book from acclaimed Brooklyn-based interior designer, Kathryn Scott, whose handcrafted interiors evoke a sense of serenity, harmony, and simplicity.
From its earliest days as a Roman legionary fortress, through the Middle Ages when the town grew as a major trading centre and became Henry VIII's northern capital; through the grandeur and decadence of Georgian York and into the nineteenth century when the city became an important railway hub, confectionery manufacturer and pioneer of social housing, to its current status as a majour tourist destination and sustainable city, York has a proud and distinctive identity. This extraordinary history is embodied in the rich architecture that has shaped this beautifully preserved city, famed for its Gothic cathedral. York in 50 Buildings explores the history of York through a selection of its greatest architectural treasures. From the magnificent medieval York Minster to the first neoclassical building in Europe, this unique study celebrates York's architectural heritage in a new and accessible way. Local architectural historian and photographer Andrew Graham guides the reader on a tour of the city's historic buildings and modern architectural projects.
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.
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