There are many studies of Venice's art, architecture and culture, but this fascinating and wonderfully illustrated book takes a unique approach to the famous city. Marko Pogacnik draws on the four classic elements of earth, water, fire and air, as well as yin and yang and alchemy, and discovers that nothing in Venice is by chance: its shape and layout, as well as its most famous palaces and places of worship, all form a continuous hidden path through the city. Pogacnik brings his formidable experience with landscapes and lithopuncture to bear on this most stunning of cityscapes. Illustrated with over 250 stunning photographs and diagrams.

Icons includes 45 projects from 10 world-renowned hotel groups such as Marriott, Accor, Hyatt, Hilton, Starwood and Inter-Continental from first hand sketches through to post completion photographs. Includes The Peninsula Hotel in Tokyo, Four Seasons in los Angeles, Sofitel Phnom Penh.

This entertaining and informative book explores the world of architecture through a series of 101 questions and answers that cover a wide range of issues on its practice and theory. There are historical questions, such as 'Who was the first architect?' and 'Are all churches architecture?' as well as ones that relate to contemporary activity, such as 'Have computers changed architecture?' or 'How small can a home be?'. There are also many that are intriguing and irreverent, such as 'Why do architects want to paint the world white?' and 'Is Dubai a city?'. For each of the questions there is a brief, one-line answer and then a more extended discussion. Aimed at both general readers as well as those in the field, this book will make a perfect purchase or gift for anyone interested in architecture.

The Protected Vista draws a historical lineage from the eighteenth-century picturesque to present-day planning policy, highlighting how the values embedded within familiar views have developed over time through appropriation by diverse groups for cultural and political purposes. The book examines the intellectual construction of the protected vista, questioning the values entrenched within the view, by whom, and how they are observed and disseminated, to reveal how these views have been, and continue to be, part of a changing historical and political narrative. With a deeper knowledge and understanding of the shifting values in urban views, we will be better equipped to make decisions surrounding their protection in our urban centres. The book identifies the origins of current view protection policy in the aesthetic convention of the picturesque, drawing on a range of illustrated examples in the UK, the US, Australia, Canada and South Africa, to serve as a useful reference for students, researchers and academics in architecture, architectural conservation, landscape and urban planning.

Built around three sacred springs, the Jin Shrines complex (Jinci), near Taiyuan in Shanxi province, contains a wealth of ancient art and architecture dating back to the Northern Song dynasty (960-1127). The complex's 1,500-year-long textual record allows us to compare physical and written evidence to understand how the built environment was manipulated to communicate ideas about divinity, identity, and status. Jinci's significance varied over time according to both its patrons' needs and changes in the political and physical landscape. The impact of these changes can be read in the physical development of the site.

Using an interdisciplinary approach drawing on the research of archaeologists, anthropologists, and religious, social, and art historians, this book seeks to recover the motivations behind the creation of religious art, including temple buildings, sculpture, and wall paintings. Through an examination of building style and site organization, the author illuminates the multiplicity of meanings projected by buildings within a sacred landscape and the ability of competing patronage groups to modify those meanings with text and context, thereby affecting the identity of the deities housed within them. This study of the art and architecture of Jinci is thus about divine creations and their power to create divinity.

In "When All of Rome Was Under Construction," architectural historian Dorothy Metzger Habel considers the politics and processes involved in building the city of Rome during the baroque period. Like many historians of the period, Habel previously focused on the grand schemes of patronage; now, however, she reconstructs the role of the "public voice" in the creation of the city. She presents the case that Rome's built environment did not merely reflect the vision of patrons and architects who simply imposed buildings and spaces upon the city's populace. Rather, through careful examination of a tremendous range of archival material--from depositions and budgets to memoranda and the minutes of confraternity meetings--Habel foregrounds what she describes as "the incubation of architecture" in the context of such building projects as additions to the Palazzo Doria-Pamphili and S. Carlo ai Catinari as well as the construction of the Piazza Colonna. She considers the financing of building and the availability of building materials and labor, and she offers a fresh investigation of the writings of Lorenzo Pizzatti, who called attention to "the social implications" of building in the city. Taken as a whole, Habel's examination of these voices and buildings offers the reader a deeper and more nuanced understanding of the shape and the will of the public in mid-seventeenth-century Rome.

Formed in 1991, Richard Murphy Architects' early reputation was built on highly crafted and innovative domestic work in Edinburgh, Scotland. The practice has grown both in size and range of commissions, working across the UK and Ireland, in Europe and Sri Lanka and, more than two decades on, has amassed an extensive portfolio, designing buildings and spaces for the arts, education, housing, health, public and community use, as well as masterplanning. Richard Murphy Architects makes careful responses to complex contexts--whether insertion, extension or new-build, the practice's projects develop a dialogue between existing and new, intimacy and scale. large or small scale, public or private, each scheme harnesses plan, form, materials and detailing to produce a subtle, sensitively-considered result. Covering projects from Edinburgh's fruitmarket gallery to the British high commission in Colombo, Sri Lanka, from schemes for large housing association clients to the intimate scale of the Maggie's Cancer Caring Centre in Edinburgh, this survey of Richard Murphy Architects' work presents a series of fascinating projects, and charts the development of a key contemporary architectural practice from the late twentieth century into the twenty-first.

Eloquent Spaces adopts the twin analytic of meaning and community to write a fresh history of building in early India. It presents a new perspective on the principles and practices of early Indian architecture. Defining it broadly over a range of space uses, the book argues for architecture as a form of cultural production as well as public consumption. Ten chapters by leading archaeologists, architects, historians and philosophers, examining different architectural sites and landscapes, including Sanchi, Moodabidri, Srinagar, Chidambaram, Patan, Konark, Basgo and Puri, demonstrate the need to look beyond the built form to its spirit, beyond aesthetics to cognition, and thereby to integrating architecture with its myriad living contexts. The volume captures some of the semantic diversity inherent in premodern Indian traditions of civic building, both sacred and secular, which were, however, unified in their insistence on enacting meaning and a transcendent validity over and above utility and beauty of form. The book is a quest for a culturally rooted architecture as an alternative to the growing crisis of disembededness that informs modern praxis. This volume will be of interest to scholars and practitioners of architecture, ancient Indian history, philosophy, art history and cultural studies.

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.?

BIM (Building Information Modelling) is revolutionising architecture and construction, as more and more practices are realising the benefits it brings to design, sustainability, and construction. There is a perception that BIM is a process best left to large practices - requiring significant resources and the ability to invest heavily in IT. This book overturns that misconception: introducing a selection of inspirational BIM-enabled projects by small architectural practices. Full of practical tips and hard-won experience, BIM in Small Practices: Illustrated Case Studies includes pithy contributions from industry experts who identify and explore the important issues for small practices including how to get your practice started with BIM, and how it aligns to the new Plan of Work. This landmark publication will motivate small practices who are considering taking those first steps towards implementing BIM.

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.

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.

The boom years from the 1950s to the 1970s were marked by a pioneering spirit and a great drive for innovation in the Ruhr district as well as in many other regions and cities throughout Europe. Modern schools, universities, city halls, churches, shopping malls, and housing estates popped up as a result of ambitious architectural and urban planning projects. While back then they were created as a visual expression of a hope for a better future, a large number of these buildings are now falling into decay. Others are disdainfully ignored or have their merits concealed behind crumbling facades and are regarded as symbolic of failed social utopias. Frequently this architecture does not enjoy the appreciation it deserves simply because people have no information about it. Only very few such buildings therefore have gained their due recognition: Essen's Grugahalle for instance, Dortmund's Florianturm, or Gelsenkirchen's music theatre. The current guide invites you to explore the forgotten gems of this period of architecture in the Ruhr district. In total, the book sheds light on 54 structures, throughout 17 cities, all of which were specially selected, photographed, and described for this publication. Joined together they offer a vivid and comprehensive panorama of their era. Text in English and German.

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 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.