Originally published London, 1924. Contents Include: The Serenade at Caserta - "Les Indes Galantes" - The King and the Nightingale - Biography etc. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Home Farm Books are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

The augmentation of urban spaces with technology, commonly referred to as Media Architecture, has found increasing interest in the scientific community within the last few years. At the same time architects began to use digital media as a new material apart from concrete, glass or wood to create buildings and urban structures. Simultaneously, Human-Computer Interaction (HCI) researchers began to exploit the interaction opportunities between users and buildings and to bridge the gaps between interface, information medium and architecture. As an example, they extended architectural structures with interactive, light-emitting elements on their outer shell, thereby transforming the surfaces of these structures into giant public screens. At the same time the wide distribution of mobile devices and the coverage of mobile internet allow manifold interaction opportunities between open data and citizens, thereby enabling the internet of things in the public domain. However, the appropriate distribution of information to all citizens is still cumbersome and a mutual dialogue not always successful (i.e. who gets what data and when?). In this book we therefore provide a deeper investigation of Using Information and Media as Construction Material with media architecture as an input and output medium.

Learn to apply new digital design technologies at your own firm with this practical and insightful resource Digital Sketching: Computer-Aided Conceptual Design delivers a comprehensive and insightful examination of how architects and other design professionals can best use digital design technology to become better designers. Celebrated professional, professor, and author John Bacus provides readers with practical and timely information on emerging digital design technologies and their effect on professional practice. By focusing on the big picture, this rigorous survey of conceptual design technology offers professionals realistic strategies for reclaiming time for design in the ever increasing speed of project delivery. This book helps architects (and others like them) learn to use digital sketching techniques to be better designers, right from the project's very first sketch. As part of the groundbreaking Practical Revolutions series of books, Digital Sketching furthers the conversation of the practical deployment of emerging technologies in the building industries. This book provides readers with the information they need to evaluate digital design technology and decide whether or not to adopt and integrate it into their own processes. Readers will receive: An accelerated and accessible introduction to a highly technical topic Practical and applicable guidance on how to adapt a firm's business to adopt new technology without losing the benefit of existing intuition, skill, and experience. Real world implementations of specific techniques in the form of illuminating case studies that include results and lessons learned Perfect for professional architectural designers, Digital Sketching also belongs on the bookshelves of interior designers, landscape architects, urban planners, contractors, and specialty fabricators of every kind. A disciplined sketching practice, especially through the digital methods discussed in this book, is a transformational benefit to anyone who designs and builds for a living.

This is a unique reference tool for finding images of approximately 7,000 architectural works reproduced in more than 100 books likely to be available in libraries with architectural collections. The index is international in coverage; includes a variety of architectural, engineering, and planning works; and covers most historical periods and styles. Citations to reproductions of exterior and interior views, plans, sections, and elevations are provided, and access is enabled by building site, architect, type of work, and name of work indexes. The index is organized into four parts. Part I, the Site Index, is the principal index and lists architectural works alphabetically according to specific location. For each work, the following information is provided, if available: name of work, alternate names, date of work, architect(s), and citation information organized according to exterior view, interior view, plan, section, or elevation. The Architect Index, Part II, lists alphabetically the architects, engineers, planners, and others responsible for works cited in Part I. A typical listing provides the name of the architect, other names by which he or she is known, life dates, and the works listed alphabetically with their sites. The third part organizes the works according to particular type of building or structure. Part IV, the Work Index, lists names and alternate names of works and parts of works, as revealed in the indexed sources. The books indexed for this unique reference work were selected to form a representative survey of the major periods of architectural history. World Architecture Index is a unique reference and research tool that will be welcomed by students and scholars of architecture, art history, civil engineering, interior design, landscape architecture, urban planning, and world history.

India in Art in Ireland is the first book to address how the relationship between these two ends of the British Empire played out in the visual arts. It demonstrates that Irish ambivalence about British imperialism in India complicates the assumption that colonialism precluded identifying with an exotic other. Examining a wide range of media, including manuscript illuminations, paintings, prints, architecture, stained glass, and photography, its authors demonstrate the complex nature of empire in India, compare these empires to British imperialism in Ireland, and explore the contemporary relationship between what are now two independent countries through a consideration of works of art in Irish collections, supplemented by a consideration of Irish architecture and of contemporary Irish visual culture. The collection features essays on Rajput and Mughal miniatures, on a portrait of an Indian woman by the Irish painter Thomas Hickey, on the gate lodge to the Dromana estate in County Waterford, and a consideration of the intellectual context of Harry Clarke's Eve of St. Agnes window. This book should appeal not only to those seeking to learn more about some of Ireland's most cherished works of art, but to all those curious about the complex interplay between empire, anti-colonialism, and the visual arts.

Architectural Management in Practice is intended to provide both an introduction to the architectural management discipline and a bridge between education and practice. The book informs students about the management issues faced by architects, architectural technologists and surveyors in a competitive marketplace and the practices that should be adopted to enable them to compete effectively. It is split into four main sections. Section One sets the background to the profession, looking at how architectural management is evolving and the environment in which the profession sits. Section Two looks at the assets of a practice, that is people, information and business strategies. Section Three covers the practice of architectural management and looks at all the main management issues: managing projects, design, quality and construction. Finally, Section Four defines competitive advantage for a design practice, and shows how to achieve it and how to promote the company.

A lost sketch book on a Portuguese castle rampart left Manuel Joao Ramos bereft, and the impulse to draw deserted him - but his first trip to Ethiopia reawakened this pleasure, so long denied. Drawing obsessively and free from care, his rapidly caught impressions convey the rough edges of the intensely lived experiences that are fundamental to the desire to travel. For the travel sketch is more than a record or register of attendance (`been there, seen that'): it holds invisibly within itself the remnant of a look, the hint of a memory and a trace of an osmosis of feelings between the sketcher and the person or objects sketched. Less intrusive than using a camera, Ramos argues drawing comprises a less imperialist, more benign way of researching: his sketchbook becomes a means of communication between himself and the world in which he travels, rendering him more human to those around him. As he journeys through the Ethiopian Central Highlands, collecting historical legends of the power struggles surrounding the arrival of the first Europeans in the mid-sixteenth century, he is drawn to the Portuguese legacy of castles, palaces and churches, near ruins now, though echoes of their lost splendour are retained in oral accounts. Excerpts from his diary, as well as journalistic pieces, share the conviviality of his encounters with the priests, elders and historians who act as custodians of the Amhara oral tradition. Their tales are interwoven with improvised, yet assured, drawings, and this informality of structure successfully retains the immediacy and pleasure of his discovery of Ethiopia. It also suggests the potential for drawing to play a more active part in anthropological production, as a means of creating new narratives and expositional forms in ethnography, bringing it closer to travel writing or the graphic novel.

This volume builds upon the new worldwide interest in the global Middle Ages. It investigates the prismatic heritage and eclectic artistic production of Eastern Europe between the fourteenth and seventeenth centuries, while challenging the temporal and geographical parameters of the study of medieval, Byzantine, post-Byzantine, and early-modern art. Contact and interchange between primarily the Latin, Greek, and Slavic cultural spheres resulted in local assimilations of select elements that reshaped the artistic landscapes of regions of the Balkan Peninsula, the Carpathian Mountains, and further north. The specificities of each region, and, in modern times, politics and nationalistic approaches, have reinforced the tendency to treat them separately, preventing scholars from questioning whether the visual output could be considered as an expression of a shared history. The comparative and interdisciplinary framework of this volume provides a holistic view of the visual culture of these regions by addressing issues of transmission and appropriation, as well as notions of cross-cultural contact, while putting on the global map of art history the eclectic artistic production of Eastern Europe.