This book examines the idea of organism in the work of Louis I. Kahn, from the turning point of Rome to the project for Venice. It presents an original interpretation of the work of Kahn during one of the most fruitful periods of his career, when he was working on a particular design method based on an entirely novel way of interacting with the past. Beginning with a meticulous documentation and analysis of Kahn's experiences in the twenty years from 1930 to 1950, the book sheds new light on the relationship between Kahn's work and the modern movement. The arguments are supported by case studies, including that of the Palazzo dei Congressi in Venice based on Kahn's words (like his lessons in Venice at IUA, International University of Art, in 1971) and others as the Trenton Bath House, the Salk Institute (La Jolla), the Kimbell Museum (Fort Worth), the Yale Gallery and the Mellon Center for British Art (New Haven) and more. Unlike much of the by now well-established literature on Kahn's work, Louis I. Kahn in Rome and Venice suggests that the basic premise of Kahn's invention is the idea of spatial, constructive organism, which explains how he created forms that were inextricably anchored in the past, without imitating any one kind of ancient architecture. The main objective of the book is to explain Kahn's methodology to architects and students, showing how he was able to design an architectural object with the characteristics of the best designed objects: organisms, in which each part contributes, with the whole, to creating "something made of indivisible parts".

Internationally recognized for his ability to blend space and light with great contextual sensitivity, architect Steven Holl achieves his award-winning designs by beginning each commission with a small watercolor exploring light, color, and form. Paintings help Holl create a concept-driven design that showcases the unique qualities of each project. This collection of watercolors, which are works of art themselves, includes his most recent projects, from the JFK Center for the Performing Arts expansion and Hunters Point Public Library to University College Dublin.

Library design in the 21st century has one common theme: collaboration is at the heart of innovation. Designing modern libraries is a complex process involving many stakeholders and participants. Libraries of all types work with an almost limitless range of constituent groups for input, buy-in and successful implementation. Securing support for new library buildings and renovations of libraries engages many people: library clients, community members, faculty, funding agencies, donors, governing authorities, librarians, architects, interior designers and planners. Telling the right story and getting to the end game demand carefully crafted approaches, wide-ranging skills, a unified vision and productive teamwork. The IFLA Library Buildings and Equipment Section has selected the best papers presented by award-winning architects and international thought leaders from the academic and public library sector at our recent satellite conferences and seminars: "Collaborative Strategies for Successful Library Design" (Chicago, Illinois), "What comes after the Third Place?" (Columbus, Ohio); "Key Issues for Library Space: International Perspectives" (Maynooth, Ireland); "Storage, the final frontier" (Munich, Germany) and "Telling and selling the space story" (Wroclaw, Poland). The stories by the library and design professionals within this publication illustrate how powerful a role partnerships, outreach and cooperation play in a library project's success.

During the post-war era, the emerging consumer economy radically changed both the discourse and practice of architecture. It was a time where architecture became a mainstream commodity whose products sold through mass media; a time in which Thomas Gordon Cullen came to be one of Britain's best-known twentieth-century architectural draftsmen. Despite Cullen's wide acclaim, there has been little research into his life and work; particularly his printed images and his methods of operation. This book examines Cullen's drawings and book design and also looks into his process of image making to help explain his considerable popularity and influence which continues to this day. It presents the lessons Cullen had to offer in today's design culture and practice and looks into the post-war consumerist design strategies that are still used today.

Peter Markli has been one of the most striking protagonists of German-Swiss architecture since the founding of the movement in the early 1980s. However, his impressive buildings resist classification; they do not fit any particular scheme or style, as each structure is developed on an intensely intimate level. This results in wholly unique edifices, which provoke questions about humanity's use of architecture as a means of expressing timelessness, rigidity, and permanence. This volume presents 17 buildings erected by Markli over the past 15 years. Each is analysed thoroughly with texts, plans and images. The presented works are complemented by enlightening essays by Florian Beigel, Philip Christou, Franz Wanner and Ellis Woodman. An exciting interview with Peter Markli himself rounds off this impressive monographic collection, conducted by Elena Kossovskaja.

* This book is the first comprehensive history of architectural modelmaking in Britain, or indeed of anywhere in the world. * An authoritative scholarly study based on six years of extensive research that draws from over 40 interviews, the analysis of over 4000 photographs of architectural models, and more than 700 documentary sources, written in an accessible style making it suitable for a broad audience. * Illustrated with never-before-seen photographs of historic architectural models from the 20th century drawn from private archives, including over 100 images from the Thorp archive, which is the largest known collection of material relating to architectural modelmaking in the world containing over 30,000 photographs and historic documents.

This book answers some important questions about Geoffrey Bawa, Sri Lanka's pre-eminent architect, and his legacy. A sizeable introductionto Bawa's world, life, education and work is reviewed by eminent Bawa scholar, David Robson. This precedes a site-by-site tour of 45 of his buildings scatterd throughout Sri Lanka, Many are considered 'pilgrimage sites' by up-and-coming architects, designers and lay people interested in his extraordinary and enduring talent. Insightful texts, contemporary and archive photographs and a plethora of drawings illustrate the individual buildings that range from private dwellings to public buildings, schools and hotels. Each is representative of Bawa's pioneering work on tropical modernism. The book ends with a brief section on buildings that have been transformed, lost or are at risk for one reason or another

The creative genius behind Founder's Building at Royal Holloway, University of London, arguably the most glorious building in England of the end of the nineteenth century, is widely respected and its architectural style is regarded as archetypally 'Victorian'. Yet its architect, William Henry Crossland, is little known, despite a substantial catalogue of buildings, most of which remain standing today. Bringing Crossland out of the shadows, this biography explores this mysterious and elusive figure in depth for the first time. Recently digitised documents and long-hidden archival material have thrown a powerful light on Crossland, which, together with the author's first-hand knowledge of his buildings, offer the reader an unprecedented appreciation and understanding of the man, his life and work, as well as his personal and artistic influences. W.H. Crossland fills a gap in nineteenth-century architectural knowledge, but it is also the touching story of an ambitious and talented man, who is long overdue to be recognised as one of the 'greats' among nineteenth-century architects. This book is intended for architects, architectural historians and anyone who is interested in the built environment, nineteenth-century history and intriguing personal stories.

In Designing the British Post-War House Fiona Fisher explores the development of domestic design and re-consider its significance for the progress of architectural modernism in Britain, through a detailed study of successful modernist architectural and design practice, Kenneth Wood Associates. The firm is representative of an expanding, geographically distinct category of post-war architectural and design practice - that of the small and successful modernist firm that flourished in Britain's expanding suburbs after the removal of wartime building restrictions. Such firms, which played an important role in the development of British domestic design, are currently under-represented within architectural histories of the period. The private house represents an important site in which new spatial, material and aesthetic parameters for modern living were defined after the Second World War. Although much has been written about the role of the private house and its interior in the development of architectural modernism in post-war Europe and North America, this has been less closely examined within a British context.The book explores the British architect-designed house as a 'vehicle for the investigation of architectural ideas' by Britain's second generation modernist architects and designers, and demonstrates the ways in which architectural discourse and practice intersected with the experience, performance, and representation of domestic modernity in post-war Britain.

Louis I. Kahn is widely known as an architect of powerful buildings. But although much has been said about his buildings, almost nothing has been written about Kahn as an unconventional teacher and philosopher whose influence on his students was far-reaching. Teaching was vitally important for Kahn, and through his Master's Class at the University of Pennsylvania, he exerted a significant effect on the future course of architectural practice and education. This book is a critical, in-depth study of Kahn's philosophy of education and his unique pedagogy. It is the first extensive and comprehensive investigation of the Kahn Master's Class as seen through the eyes of his graduate students at Penn.

This book examines the central decades of Peter Eisenman's work through a formal and thematic analysis of key architectural projects and writings, revealing underlying characteristics and arguing for their productive continuity and transformative role. The book explores Eisenman's approach to architectural form generation and thinking. It does this through a thematic and formal analysis of projects and writings from the mid-1970s to the mid-1990s. Following an introductory chapter addressing the theme of potentialities, the book is organised in two parts. The first part focuses on key period writings of Eisenman, framing the close reading around a practice of resistance, the architect's approach to history as analysis, and the transformative conceptualisation of time. In the second part, the book undertakes an analysis of select projects from the 1980s and 1990s. Three formal preoccupations and conceptual orientations - ground manipulations, figuration, and spatial events - organise this part of the book. Previously unpublished material from the Peter Eisenman fonds, Canadian Centre for Architecture, Montreal, provides primary source material. A concluding chapter addresses Eisenman's teaching, its relation to his larger project, and possible legacies for educators, practitioners, scholars, and theorists.

When did drawing become an integral part of architecture? Among several architects and artists who brought about this change during the Renaissance, Francesco di Giorgio Martini's ideas on drawing recorded in his Trattati di architettura, ingegneria e arte militare (1475-1490) are significant. Francesco suggests that drawing is linked to the architect's imagination and central in conveying images and ideas to others. Starting with the broader edges of Francesco's written work and steadily penetrating into the fantastic world of his drawings, the book examines his singular formulation of the act of drawing and its significance in the context of the Renaissance. The book concludes with speculations on how Francesco's work is relevant to us at the onset of another major shift in architecture caused by the proliferation of digital media.

During his lifetime, the work of architect George Hadfield (1763-1826) was highly regarded, both in England and the United States. Since his death, however, Hadfield's contributions to architecture have slowly faded from view, and few of his buildings survive. In order to reassess Hadfield's career and work, this book draws upon a wide selection of written and visual sources to reconstruct his life and legacy. After a general introduction, the book begins with an outline of Hadfield's early years and moves on to look in detail at the extant major buildings in Washington, D.C. that he worked on: the Capitol, Arlington House and Old City Hall. Hadfield's contributions to the Capitol and other Federal buildings are fully researched and assessed for the first time and Arlington House is set in context and shown to have been much more influential than has been appreciated hitherto. New material is presented on City Hall, which is another major and unjustly neglected contribution to the architecture of Washington. The complicated interlocking circles of his family and friends, his fellow architects, and his patrons and clients, including the transatlantic connections, are also explored, revealing much about the course of his career and American architecture in general. Subsequent chapters and the Catalogue explore the other projects that Hadfield was involved with, ranging from office buildings, jails, theatres, factories and banks to a mausoleum and monuments. The book ends with a reassessment of Hadfield's qualities and influence, arguing that these were greater than is often acknowledged. By offering explanations as to why his work was particularly admired by contemporaries, it is concluded that Hadfield's architectural style has been influential from his own times to the present and has been disseminated throughout the United States.

This book offers an ethnographic exploration of the role that atmosphere plays in work processes undertaken within an urban design studio. It provides understandings of how architectural practices are fuelled with atmosphere in various configurations throughout different design phases of selected projects for construction. From the outside architectural practices commonly appear well-ordered and carefully considered, established by proof and rationally justified. This book though poaches on architects' preserves in order to draw attention to features of unpredictability and uncertainty within the design phases. By opening up into the 'machinery room' of urban designers, the goal is not to spoil the plaster saint cover of a 'starchitect' business, but to remind about the crucial value that pockets of doubt issuing questions rather than answers, open-mindedness instead of single-mindedness, play to the processes of design production and creativity. The book identifies these pockets as atmospheres enveloping the architectural practice.

Originally published in 1970, EDRA 1 is a record of the conference proceedings of the 1st annual Environmental Design Research Association conference. The papers featured in this volume represent the proceedings of the conference and are concerned mainly with contributions of scientific disciplines towards the creation of improved methods of problem-solving environmental design, as well as understanding the nature of human responses to the environment. The papers included in this volume focus on developing models and methods towards a framework of coherence and definable structure of environmental design, with the ultimate objective of achieving an optimum environment for man. This volume will be of great interest to planners, architects and academics of urbanisation alike. Although published over 40 years ago, the book's content is still as relevant and interesting today as it was at the time of publication.

Provides an extraordinary insight into the development of one of the most well-known architects and theorists Alexander's A Pattern Language is one of the best-selling books in the history of architecture The essays combine theory and descriptions of practice

Provides an extraordinary insight into the development of one of the most well-known architects and theorists Alexander's A Pattern Language is one of the best-selling books in the history of architecture The essays combine theory and descriptions of practice

This book is about a lost world, albeit one less than 50 years old. It is the story of a grand plan to demolish most of Whitehall, London's historic government district, and replace it with a ziggurat-section megastructure built in concrete. In 1965 the architect Leslie Martin submitted a proposal to Charles Pannell, Minister of Public Building and Works in Harold Wilson's Labour government, for the wholesale reconstruction of London's 'Government Centre'. Still reeling from war damage, its eighteenth- and nineteenth-century palaces stood as the patched-up headquarters of an imperial bureaucracy which had once dominated the globe. Martin's plan - by no means modest in conception, scope or scale - proposed their replacement with a complex that would span the roads into Parliament Square, reframing the Houses of Parliament and Westminster Abbey. The project was not executed in the manner envisaged by Martin and his associates, although a surprising number of its proposals were implemented. But the un-built architecture is examined here for its insights into a distinctive moment in British history, when a purposeful technological future seemed not just possible but imminent, apparently sweeping away an anachronistic Edwardian establishment to be replaced with a new meritocracy forged in the 'white heat of technology'. The Whitehall plan had implications well beyond its specific site. It was imagined by its architects as a scientific investigation into ideal building forms for the future, an important development in their project to unify science and art. For the political actors, it represented a tussle between government departments, between those who believed that Britain needed to discard much of its Victorian and Edwardian decoration in the name of 'professionalization' and those who sought to preserve its ornate finery. Demolishing Whitehall investigates these tensions between ideas of technology and history, science and art, socialism and el

The evolving environmental justice paradigm is conceptualized differently based on political, economic and historical factors. In developed countries, emphasis is placed on the role of individuals in environmental decision-making and the protection of their access to the prerequisite environmental information and capacity to challenge environmental decisions is the main focus. However, in developing countries, access to land and natural resources are considered integral elements of environmental justice paradigm. This book focuses on the conceptualization, recognition and protection of environmental justice in developing countries. It explores the situation by engaging an analytical discourse of relevant legal provisions in four case study countries including Nigeria, South Africa, India and Papua New Guinea. The comparative analysis of environmental justice in these countries present a framework within which to appreciate the conceptualization of the environmental justice paradigm

During the years 1919 into 1925 Frank Lloyd Wright worked on four houses and a kindergarten located in metropolitan Los Angeles using concrete blocks as the main building material. The construction system has been described by Wright and others as 'uniquely molded', 'woven like a textile fabric' and perceived as ground breaking, truly modern, unprecedented. Many have attempted to uphold these claims while some thought the house-designs borrowed from old exotic buildings. For the first time this book brings together Wright's declarations, the support of upholders and inferences in order to determine their accuracy and correctness, or the possibility of feigned or fictional stories. It examines technical developments of concrete blocks by Wright and others before his experiences in Los Angeles began in 1919. It also studies the manner of Wright's design process by an examination of relevant pictorial and textual documents. A unique, in-depth and critical analysis of the houses is set within historical, biographical and theoretical contexts. Consequently, the book explains the impact upon Wright of California contemporaries, architects Irving Gill and Rudolph Schindler, and their instrumentally profound role upon the course of modernism 1907-1923. In doing so, it allows a full appreciation of Wright's, Gill's and Schindler's buildings beyond their experiential qualities.

"A model city, the hope of democracy" John Nolan on his suggested plans for Madison, Wisconsin

This book connects John Nolen's political and social visions with his design proposals by analyzing his extensive writings, personal correspondence and some of his most significant works. While John Nolen is best known as a city planner, he trained as a landscape architect and used the titles 'landscape architect' and 'city planner' interchangeably throughout his career. A prolific practitioner, he was engaged in nearly 400 projects throughout the United States between 1905 and 1936, including town planning, industrial housing, state and city parks, new towns and regional planning.

Focusing particularly on several projects central to Nolen s career including Madison (WI), Mariemont (OH), Venice (FL) and Penderlea (NC), Beck investigates the ideologies that underpinned Nolen s work. This is a rare look at a key figure in the development of 20th century American cities.

"A model city, the hope of democracy" John Nolen on his suggested plans for Madison, Wisconsin

This book connects John Nolen's political and social visions with his design proposals by analyzing his extensive writings, personal correspondence and some of his most significant works. While John Nolen is best known as a city planner, he trained as a landscape architect and used the titles 'landscape architect' and 'city planner' interchangeably throughout his career. A prolific practitioner, he was engaged in nearly 400 projects throughout the United States between 1905 and 1936, including town planning, industrial housing, state and city parks, new towns and regional planning.

Focusing particularly on several projects central to Nolen s career including Madison (WI), Mariemont (OH), Venice (FL) and Penderlea (NC), Beck investigates the ideologies that underpinned Nolen s work. This is a rare look at a key figure in the development of 20th century American cities.

First director of the Academie royale d'architecture, Francois Blondel established a lasting model for architectural education that helped transform a still largely medieval profession into the one we recognize today. Most well known for his 1676 urban plan of Paris, Blondel is also celebrated as a mathematician, scientist, and scholar. Few figures are more representative of the close affinity between architecture and the "new science" of the seventeenth century. The first full-length study in English to appear on this polymath, this book adds to the scholarship on early modern architectural history and particularly on French classicism under Louis XIV and his minister Jean-Baptiste Colbert. It studies early modern science and technology, Baroque court culture, and the development of the discipline of architecture.

An award-winning architecture firm practicing in the heart of New York City, Oliver Cope Architect has been building exceptional homes since 1988. One of the premier residential firms in the country, they have earned a reputation for creating one-of-a-kind residences of the highest quality, crafted to meet the specific needs and desires of their clients. The firm's unique combination of technical and artistic expertise results in projects that appear timeless, effortless and appropriate to their sites and surroundings. From Park Avenue apartments to historic brownstones, to houses large and small, they draw on their collective knowledge and experience to help clients realize homes. Here, in their first book, they share a selection of those homes with the world. Including drawn plans for all of the projects, original sketches illuminating the process, and richly illustrated with commissioned photography throughout. This book is not only about a collection of homes, but the team behind them, and the way that they build.