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.

More Space for Architecture features a fascinating selection of buildings and projects designed by Sheila O'Donnell and John Tuomey over a seven-year period, from 2015 to 2021. Unbuilt and unpublished designs act like stepping stones to trace a continuous path between a wide range of recent and realised works, which includes schools, universities, housing, artist collaborations and public buildings. Context-sensitive buildings on complex and difficult sites in Dublin, Cork and Budapest are outlined and presented in detail for the reader, from conceptual sketches through to completion. Competition-winning projects under construction include the highly public V&A East and Sadler's Wells East, both currently on site at the Queen Elizabeth Olympic Park in Stratford, London; the new Academic Hub in TU Dublin's city centre campus; and the brand new extension at the School of Architecture at Liverpool University. The book also features a collection of reflective essays written by O'Donnell + Tuomey, which includes a selection of O'Donnell's characteristic watercolour studies, expanding on ideas aired in public lectures and developed in studio conversations. More Space for Architecture is a companion volume to the earlier monograph from O'Donnell + Tuomey, Space for Architecture, first published by Artifice Press in 2014 and one of the publishing house's biggest sellers.

Edwin Lutyens, one of the most famous architectural names of the 20th century, died in 1944. As a memorial, three large volumes of his drawings and photographs were commissioned from the thousands found in his office, and were published by Country Life.  All three volumes will be republished in 2023. The first volume contains his own plans, elevations and copious details of the finest examples of his domestic buildings, on which his huge reputation principally rests. The book embodies the quintessence of the man and his work; the variety of style and design seen in the houses brings together in one volume the many strands of Lutyen's fertile mind. Two further volumes will include his corporate and public buildings. The genius of Lutyens is now universally recognised. In the work featured in this book, we can now see not just the professionalism of a great architect, but also the loving care with which he set down the most minute detail, with the result that this is one of the few books in existence that can be used to provide working drawings.

Franco Albini's works of architecture and design, produced between 1930 and 1977, have enjoyed a recent revival but to date have received only sporadic scholarly attention from historians and critics of the Modern Movement. A chorus of Italian voices has sung his praises, none more eloquently than his protege, Renzo Piano. Kay Bea Jones' illuminating study of selected works by Studio Albini will reintroduce his contributions to one of the most productive periods in Italian design. Albini emerged from the ideology of Rationalism to produce some of Italy's most coherent and poetic examples of modern design. He collaborated for over 25 years with Franca Helg and at a time when professional male-female partnerships were virtually unknown. His museums and installation motifs changed the way Italians displayed historic artifacts. He composed novel suspension structures for dwellings, shops, galleries and his signature INA pavilions where levity and gravity became symbolic devices for connoting his subjects. Albini clarified the vital role of tradition in modern architecture as he experimented with domestic space. His cohort defied CIAM ideologies to re-socialize postwar housing and speculate on ways of reviving Italian cities. He explored new fabrication technologies, from the scale of furniture to wide-span steel structures, yet he never abandoned the rigors of craft and detail in favor of mass-production. Suspending Modernity follows the evolution of Albini's most important buildings and projects, even as they reveal his apprehensive attitudes about the modern condition. Jones argues here that Albini's masterful use of materials and architectural expression mark an epic paradigm shift in the modern period.

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

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.

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.

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.

"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.

Based on extensive fieldwork, and research into John Ruskin's still little-interpreted archival material, notebooks and drawings (in the Ruskin Library, Lancaster University, UK and elsewhere), Stephen Kite offers an unprecedented account of the evolution of Ruskin's architectural thinking and observation in the context of Italy where his watching of building achieved its greatest intensity. Venice naturally figures large in a work that also examines other key sites including Verona, Lucca, Pisa, Florence, Milan and Monza; here, the fabrics are vividly read in their contexts against the rich evidence of Ruskin's diaries, his pocket-book sketches, architectural worksheets, drawings, and daguerrotypes (the early form of photography), and the drafts and published editions of the texts. Kite presents the complex story of Ruskin's visual thinking in architecture as a narrative of deepening interpretation and representation, focusing on the humbler monuments of Italy. He shows how Ruskin's early picturesque naturalism was transformed by the realisation that to understand the built realities confronting him in Italy demanded a closer engagement with the substance of the stones themselves; reflecting Ruskin's sense of his task as a near-archaeological gleaning and gathering of remains 'hidden in many a grass grown court, and silent pathway, and lightless canal'.

The award-winning architectural practice Hawkins\Brown, founded in 1988, is well-known for its thoughtful, innovative and sustainable new buildings and refurbishments of all types. The practice prides itself on bringing a fresh and collaborative approach, creating places that are well-made, well-used and well-loved. This new book examines 14 of its projects in detail, interspersed with essays on various themes by members of the practice. The book begins with an examination by the eminent architecture journalist Hugh Pearman of the founding, history and approach of Hawkins\Brown, based on personal interviews with the practice's two founding principals, Roger Hawkins and Russell Brown. A full discussion of the projects follows, each comprehensively illustrated with photographs, plans and renderings. The Bartlett School of Architecture in London had been outgrown by the School; it has been stripped back and reconfigured to create a building that staff and students alike are delighted to use. The Corby Cube is a well-equipped, multi-purpose civic and cultural centre that is beloved of this East Midlands town's inhabitants. Here East, the repurposing of the Olympic press and broadcast centres in east London into space for creative and digital industries, is an excellent example of collaboration between client, architect and stakeholders. At Hilden Grange Preparatory School in Kent, Hawkins\Brown slotted exemplary new teaching spaces into natural woodland in a sustainable and sympathetic way. The University of East Anglia's Bob Champion Building is part of the Norwich Medical School's vision to become a world leader in clinical research and teaching, and was completed in less than a year. Park Hill housing estate in Sheffield has been updated with a charismatic new facade treatment and revitalized flats, taking it from eyesore to icon. Another housing estate, Peabody Burridge Gardens in southwest London, has been rebuilt completely, and is now more pleasant and better integrated. Tottenham Court Road station in central London - part of the enormous Crossrail project - has been sympathetically but radically redesigned to provide for the extra people who will use it, and includes artworks by Daniel Buren, Richard Wright and Douglas Gordon. At Hackney Town Hall in east London, the refurbishment of an important art deco building required all numerous skills, from reuse and repair to conversion and conservation. A combined refurbishment and new building on Great Suffolk Street just south of the river in central London, meanwhile, has created an expanded commercial building that sits comfortably in its semi-industrial setting. For the City of London Freemen's School in Surrey, Hawkins\Brown created a new swimming pool that is simultaneously functional, beautiful and sympathetic to its rural location. With the University of Oxford Beecroft Building - where environment is also deeply important - the practice produced a new Physics research facility that both satisfies the city's stringent historical and conservation controls and is a genuinely groundbreaking scientific building. East Village Plot No. 6 is a `build-to-rent' development in Stratford, east London, where architecture has been used to create community. Finally, the Thames Tideway Tunnel is a crucial yet little-known infrastructure project that will extend and modernize London's sewerage system to cope with future demand. The visible architecture here involves various surface points along the river, including at Chelsea Embankment and at Blackfriars. The essays demonstrate Hawkins\Brown's pride in the input of its staff. Seth Rutt explains the architect's desire for creative autonomy and wish to follow the process of creating a new building all the way from designing it to supervising the construction. Darryl Chen explains the importance of taking time away from day-to-day work to focus on broader themes, and introduces the practice's own think tank. Nicola Rutt discusses the importance of refurbishment in the output of the practice, emphasizing its importance to the urban fabric and to the people who inhabit our towns and cities. Morag Morrison writes about the integration of art with architecture, and Katie Tonkinson examines mixed-use architecture in the context of the architect's approach rather than the client's brief. Harbinder Birdi explains the importance of urban planning and considering the human context for all projects, and, finally, Oliver Milton and Jack Stewart celebrate the opportunities afforded by new technology.

Written by experienced scholars and renowned academics from Japan, Australia, Europe, S. Korea and the US. Provides a critical, intellectual, and up-to-date account of the Metabolism projects and ideas in the context of current evolution of architectural and urbanism discourse in a global context. Timed to coincide with the 60th anniversary of the publication of the Metabolist manifesto.

This book delves into the life and work of architect William Richard Lethaby (1857-1931) and his relationship with the occult and alchemy, in particular. Using detailed analysis of Lethaby's drawings and architecture, the research uncovers Lethaby's familiarity with occult concepts and ideology during the spiritual revolution of the nineteenth century. Throughout this time, countless individuals, particularly members of the avant-garde, rejected more traditional religious pathways and sought answers through experimental and mystical alternatives. William Lethaby, Symbolism and the Occult reveals how the architect was profoundly influenced by the Zeitgeist, which was saturated with references to spiritualism, mysticism and the occult, and explores the impact of occultism on his contemporaries and the wider Arts and Crafts Movement. This book is written for upper-level students, researchers and academics interested in architectural history, William Lethaby and nineteenth century culture and society.