This expert guide to Japanese architecture is of enormous historical importance to the understanding of Japanese design and culture. Pioneering Japanologist A. L. Sadler's invaluable study of Japanese architecture first appeared in 1941. Considered a classic in its field, unequaled in clarity and insight, Japanese Architecture A Short History is a lucid and uncomplicated introduction to this important aspect of Japanese culture. Beginning with the earliest evidence from prehistory and ending with the Edo period, when Japan attained stature as a modern state, Japanese Architecture is as relevant today as it was in 1941. The book includes an overview of Japanese domestic architecture as it evolved through successive periods of history and perfected the forms so widely admired in the West. Of particular importance in this respect are the four concluding chapters, in which the distinctive features of the Japanese house are presented in clear detail. The architecture book also contains excellent illustrations, which show details of planning and construction.

Pugin's writings and buildings changed the course of British architecture. The Present State, published in 1843, is significant in marking the transition from Pugin the Gothic propagandist and polemicist to Pugin the working architect and designer who can now show actual examples of his own buildings. In this book he espouses Gothic of the early fourteenth century as the pinnacle of architectural excellence, a style which would remain the backbone of the Victorian Gothic Revival for the next thirty years. Having lamented the existing state of church architecture, Pugin proceeds to describe in some detail, and with reference to his own buildings, the essentials of a properly designed and appointed Catholic parish. This pioneering work is reproduced here in facsimile and carries an insightful introduction by leading Pugin scholar, Michael Fisher.

Dhivehi Raaje - the authentic local word for Maldives, has always been a fascinating place for visitors who love the sunny, white sandy beaches, underwater beauty and the hospitality they get from islanders while they are on a resort. What they don't often see is the life outside of the resort. As the concept of tourism in the Maldives is a one-hotel-one-island concept, all that is worth seeing about Maldives and its people is just a step away from the resort life. The conception of Dhivehin (local terms for Maldivian) and how they thrive in the midst of tourism's income can only be seen by a visit to the capital city. Male the capital city of the Maldives is the living construction site of the country. The construction and design industry in the Maldives has largely been an automatic offshoot from the tourism industry and we are still building every single day. Buildings play a huge role in the diversification of the dreams, shaping ideals, and ideas of the private and public lives of the Dhivehin.

Diversity and Design explores how design - whether of products, buildings, landscapes, cities, media, or systems - affects diverse members of society. Fifteen case studies in television, marketing, product design, architecture, film, video games, and more, illustrate the profound, though often hidden, consequences design decisions and processes have on the total human experience. The book not only investigates how gender, race, class, age, disability, and other factors influence the ways designers think, but also emphasizes the importance of understanding increasingly diverse cultures and, thus, averting design that leads to discrimination, isolation, and segregation. With over 140 full-color illustrations, chapter summaries, discussion questions and exercises, Diversity and Design is a valuable tool to help you understand the importance of designing for all.

Rethinking the Baroque explores a tension. In recent years the idea of 'baroque' or 'the baroque' has been seized upon by scholars from a range of disciplines and the term 'baroque' has consequently been much in evidence in writings on contemporary culture, especially architecture and entertainment. Most of the scholars concerned have little knowledge of the art, literature, and history of the period usually associated with the baroque. A gulf has arisen. On the one hand, there are scholars who are deeply immersed in historical period, who shy away from abstraction, and who have remained often oblivious to the convulsions surrounding the term 'baroque'; on the other, there are theorists and scholars of contemporary theory who have largely ignored baroque art and architecture. This book explores what happens when these worlds mesh. In this book, scholars from a range of disciplines retrieve the term 'baroque' from the margins of art history where it has been sidelined as 'anachronistic', to reconsider the usefulness of the term 'baroque', while avoiding simply rehearsing familiar policing of periodization, stylistic boundaries, categories or essence. 'Baroque' emerges as a vital and productive way to rethink problems in art history, visual culture and architectural theory. Rather than attempting to provide a survey of baroque as a chronological or geographical conception, the essays here attempt critical re-engagement with the term 'baroque' - its promise, its limits, and its overlooked potential - in relation to the visual arts. Thus the book is posited on the idea that tension is not only inevitable, but even desirable, since it not only encapsulates intellectual divergence (which is always as useful as much as it is feared), but helps to push scholars (and therefore readers) outside their usual runnels.

For more than 200 years, and especially since the rediscovery of ancient Egypt by Europe in the 19th century, the exotic Egyptian style in architecture has been a sign of our fascination with a civilisation that has had a long-lasting and deep-seated influence on British culture. From its fashionable success in the Regency period to its varied uses in the 20th century, Egyptian-style architecture has much to say about what ancient Egypt represents to us. Egypt in England is the first detailed guide to the use of the Egyptian style in architecture and interiors in England, and to those that survive, most of which can be seen or visited by the public. Fully illustrated, it combines a series of topic essays giving the architectural and Egyptological background to the use of the style with a guide allowing sites to be located, and explaining what can still be seen. A variety of buildings and monuments - from cinema, supermarket, synagogue and factory, to folly, mill, Masonic temple and mausoleum - are highlighted in the book. For those who don't know their architrave from their entablature, or their Anubis from their Uraeus, there are also glossaries of architectural terms and ancient Egyptian deities. This engaging book is an accessible and practical guide for a general audience, but has enough depth to be useful to scholars in a range of subject areas.

Available again, a wholly original study of the complex relationship between architecture and language that has changed and enriched the way we think and talk about architecture.The words we use when we talk and write about architecture describe more than just bricks and mortar - they direct the ways we think of and live with buildings. This groundbreaking book is the first thorough examination of the complex relationship between architecture and language as intricate social practices. Six rigorously argued chapters investigate the language of modernism, language and drawing, `masculine and feminine' architecture, language metaphors, science in architecture, and the social properties of architecture. There follows a vocabulary of key words such as `Character', `Form', `History' and `Space', locating each word's modern meaning within an historical and theoretical framework, and setting out clearly its development and relevance for architects, historians, philosophers, critics and the users of the buildings themselves. `Architects should be made to read Words and Buildings' - Architecture Today `Unusually clear and accessible ... Students of all kinds will love this book' - The Architectural Review `A forceful, clear and sophisticated exposition of the role of conceptual thought in architectural discourse' - The Architects' Journal

Frederick the Great as a gardener? That is something new. In fact, however, under Frederick's idiosyncratic guidance, the garden at Sanssouci became a mirror of his personal and political roles. Paths, plantings, architecture, and sculptures express his notions of death, happiness, and fame. Frederick used famous forms of mythological representation, as well as mysterious allegorical allusions and emblematic references. The "axis of knowledge" defined his Prussian Arcadia as the best of all possible worlds, where the "philosopher of Sanssouci" and his friends devoted themselves to the arts and sciences. The "axis of power," on the other hand, represents his fame and ambition as a European monarch who legitimized his rule not only via the Hohenzoller and Orange dynasties, but also through the tradition of the pharaohs, the Roman emperors, and Louis XIV, the Sun King.

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.

Landscape is the impression given by a place. The five senses construct five landscapes: there is not only the visual landscape but also non-visual landscapes such as smell, touch, sound ('sound-scape'), and taste landscapes. The visual landscape is experienced by most people, while the remaining four non-visual landscapes mainly construct the non-visual world of the blind. In their innovative study, Angeliki Koskina and Nikolas Hasanagas explore this non-visual world on an empirical basis. What landscapes do blind people prefer? Is the natural or built environment most attractive for them? How differently do blind people perceive the 'landscape' compared to sighted people? Which feelings does the landscape evoke in blind people, and which values do they attach to these feelings? How satisfied do they feel with the urban or natural landscapes where they live? Spatial Planning and Land-scape Design for handicapped people constitute a much-discussed academic and social issue. Koskina's and Hasanagas' study in the Anthropology of Senses and in Landscape Sociology can be used as an aid tool for planners and designers as well as researchers in various areas such as Architecture, Medicine, Social Sciences, or Psychology.

Sustainable design requires that design practitioners respond to a particular set of social, cultural and environmental conditions. 'Vernacular Architecture and Regional Design' defines a set of strategies for understanding the complexities of a regional setting. Through a series of international case studies, it examines how architects and designers have applied a variety of tactics to achieve culturally and environmentally appropriate design solutions.

Shows that architecture and design are inextricably linked to social and environmental processes, and are not just technical or aesthetic exercises.
Articulates a variety of methods to realise goals of socially responsible and environmentally responsive design.
Calls for a principled approach to design in an effort to preserve fragile environments and forge sustainable best practice.

'Vernacular Architecture and Regional Design' will appeal to educators and professional practitioners in the fields of architecture, heritage conservation and urban design.

Dr. Kingston Wm. Heath is Professor and Director of the Historic Preservation Program at the University of Oregon. Previously he was Professor of Architecture at the University of North Carolina, Charlotte where he taught seminars on vernacular architecture and regional design theory. He holds graduate degrees from the University of Chicago and Brown University. In addition to numerous articles in scholarly journals, he is the author of Patina of Place, and winner of the Abbott Lowell Cummings Award from The Vernacular Architecture Forum for excellence in a scholarly work. He has earned an international reputation in the field of vernacular architecture and has directed field schools in Italy and Croatia."

Completed projects receive more public attention than the process of their creation and so the myth that architects design buildings alone lives on. In fact, architects work with a great many others and the relationships that develop, particularly with clients, have a significant impact on design. "Design through Dialogue" explores the relationship between client and architect through the lens of four overlapping activities that occur during any project: relating, talking, exploring and transforming.

Cases of design and collaboration range from smaller scale retail, residential and educational projects in the US, Sweden, the UK and the Pacific Rim to large institutions, including Seattle's Central Library, the National Museum of the American Indian in Washington DC, the Supreme Court in Jerusalem and the Museum of New Zealand. Material is taken from interviews with clients and architects and research in psychotherapy, group dynamics and design studies. Throughout the book aspects of process are linked to design outcomes to illustrate how architects and clients collaborate creatively.

This classic portfolio features elevations, floor plans, and other line drawings by Scotland's first great classical architect. Only inexpensive edition of the volume that guided 19th-century American builders. 160 plates.

This biennial prize is conceded by the European Union and organized by the Mies van der Rohe Foundation in Barcelona to recognize and reward the quality of the architectural production in Europe. Candidates are nominated by a diverse group of independent experts from all over Europe. In each edition, the jury awards two prizes: the European Community Prize for Contemporary Architecture, presented for conceptual, technical and con-structive qualities of a project, and the Special Mention for Emerging Architect. The Mies van der Rohe Pavilion in Barcelona incarnates the main objectives that the prize looks for: excellence and innovation in conceptual and constructive terms. The 2011 edition of the biannual publication that accompanies the prize will present the winning project and also the six finalists: the New Museum (Berlin, Germany) by David Chipperfield Architects; the Bronks Theatre (Brussels, Belgium) by MDMA; the MAXXI: Museum of 21st Century Arts (Rome, Italy) by Zaha Hadid Architects; the Danish Radio Concert Hall (Copenhagen, Denmark) by Ateliers Jean Nouvel; the Acropolis Museum (Athens, Greece) by Bernard Tschumi Architects; and the Rehab Center Groot Klimmendaal (Arnhem, The Netherlands) by Architectenbureau Koen van Velsen.

Bedford Lemere & Co was the pre-eminent English firm of architectural photographers during the late 19th and early 20th centuries. Taking photographs at a time of extraordinary change and unparalleled optimism, its customers were leading architects, designers, industrialists, estate agents, hoteliers and retailers. Over the years, Bedford Lemere & Co. photographed country houses, factories, hospitals, shops, banks, railway stations, cruise liners and, during the First World War, armaments manufacture. Its work centred on London, but it received commissions throughout the British Isles and occasionally from abroad. The firm's work was technically outstanding and executed with a distinctive sympathy for its subject matter. Its photographs are perfect illustrations of the buildings of a confident age. Today the Bedford Lemere collection, held by the National Monuments Record, is an important source of images of English architecture and life from 1870 until the Second World War. This book features over 250 striking photographs from the collection. Printed from the original negatives, they include stunning images of the rebuilding of London around 1900, and of early cinemas, power stations, car showrooms, department stores and factories of many kinds. Especially evocative are the firm's photographs of those - mostly women, old men and children - involved in war work between 1914 and 1918. Complemented with an informative introduction and captions by the author, this book will appeal to anyone with an interest in photography, architecture and social history.

In 1925 a journalist on the Barcelona newspaper El Escandalo used the term Barrio Chino in a somewhat derogatory way to describe part of the older city. While the area in question represented a dystopian underbelly of the city, known for its impoverished living and working conditions together with its 'red-light' subcultures, it never existed as a 'Chinatown' in either a physical or social sense. However the name of this mythical community stuck from the 1920s onwards, appearing on maps and descriptions of the inner city but devoid of any hint of Chinese inhabitants or their culture. The book takes this as a starting point to chart the development of Barcelona over two hundred years using a series of 'diaries' and drawn images. These are set around four generations of a fictional Chinese dynasty and their imagined architectural participation in some of the major events in Barcelona's modern history. As residents of the Barrio from the mid-nineteenth century, they individually document diverse contributions to the city during periods of dynamic growth. This is set against a backdrop of cataclysmic political change and exemplary forms of urban regeneration which have provided Barcelona with its contemporary 'World City' status as it plans for the future.

The portico is one of the most characteristic and significant features of western architecture and, yet, perhaps, also one of the least closely observed. Redolent of Antiquity and comprising the essential vocabulary of classical architecture in the form of the orders - columns, entablatures and, usually, pediments - it evokes past glories and epitomizes the modular system of design that is central to that architecture. It has often played a key role in, or acted as a barometer of, stylistic innovations. Used widely in Antiquity, especially in temples, the portico suffered a decline following the dissolution of Roman imperial authority in the West. However, sufficient literary and physical remains survived which, when viewed in particular ways, enabled it to regain a central position in architecture, following the Renaissance. Revived in Italy, it was subsequently adopted elsewhere in Europe and eventually in this country, and it is to the tentative introduction of the portico to Britain in the early seventeenth century, its widespread use throughout the eighteenth and much of the nineteenth centuries, and the beginning of its decline towards the end of our period, that this study is devoted.

The histories of Mexico and the United States have been intertwined since the 18th century, when both were colonies of European empires. America's fascination with Mexican culture emerged in the 19th century and continues to this day. In turn, Mexico looked to the U.S. as a model of modernity, its highways and high-rises emblematic of "The American Way of Life." Exploring the design movements that defined both places during the 20th century, this book is arranged into four sections- Spanish Colonial inspiration, Pre-Hispanic Revivals, Folk Art and Craft Traditions, and Modernism. Featured are essays by leading scholars and illustrations of more than 300 works by architects and designers including Richard Neutra, Luis Barraga n, Charles and Ray Eames, and Clara Porset. The word translation originally meant "to bring or carry across." The constant migration between California and Mexico has produced cultures of great richness and complexity, while the transfers of people and materials that began with centuries-old trade routes continue to resonate in modern society, creating synergies that are "found in translation."

Building/Art discusses changing ideas about the nature and function of the city as an essential cultural network, one that each of its inhabitants participates in, whether consciously or unconsciously. The city acts as a backdrop to everyday life and influences the ways in which individuals interact with a greater cultural community. How would life be different for us as individuals if we lived in a different kind of city? What interventions can be made at an architectural level to make our city a more engaging place to live? In this theoretical discussion and visual display of urbanism, vital connections are made between modernism as an international movement and its manifestations in Canadian architecture. With contributions from experts in diverse fields of inquiry, Building/Art offers a discussion of the dynamic relationship between form and culture in word and picture.

As one of the 18th century's most influential architecture writer/designers, Swan came to define many conventions of English rococo detail. Included here is a range of floor plans and detail elevations that demonstrates both Swan's unique style, as well as the types of homes prevalent in Georgian England and colonial America. 125 illustrations.

This classic survey of Italian Baroque art and architecture focuses on the arts in every center between Venice and Sicily in the early, high, and late Baroque periods. The heart of the study, however, lies in the architecture and sculpture of the exhilarating years of Roman High Baroque, when Bernini, Borromini, and Cortona were all at work under a series of enlightened popes. Wittkower's text is now accompanied by a critical introduction and substantial new bibliography. This edition-now published in three volumes-will also include color illustrations for the first time.