John Madin was the indisputable master of post-war architecture in Birmingham. The work of Madin and his associates had a profound influence on the reshaping of the city after the war, producing some of the most iconic buildings of that period, such as the Birmingham City Library, the Chamber of Commerce and the Post and Mail Building. Trained in the modernist style but too much of a craftsman to abandon decoration entirely, his work is characterised by attention to detail, a preference for natural materials and a desire for decoration and art in his buildings. Many have characterised Madin as a commercial architect, but as the author argues, there was another side to his work. His conservationist approach to the development plan for the Calthorpe Estate, his workman-like master-planning of Dawley, Telford and Corby new towns, his public service commissions, and his design and layout of housing schemes that are still lived-in and popular today, testify to his commitment to human values. Lavishly illustrated with images from Madin's personal archive and stunning new photography, this book is an essential read for architects, students, architectural historians and modernist enthusiasts interested in learning more about a key figure in British post-war architecture. This book has been commissioned as part of a series of books on Twentieth Century Architects by RIBA Publishing, English Heritage and The Twentieth Century Society.

One of the most significant occurrences in the history of design was the creation of the English Landscape Garden. Accounts of its genesis...the surprising structural change from the formal to a seeming informal are numerous. But none has ever been quite convincing and none satisfactorily placed the contributions of Stephen Switzer. Unlike his contemporaries, Switzer - an 18th century author of books on gardening and agricultural improvement - grasped a quite new principle: that the fashionable pursuit of great gardens should be "rural and extensive", rather than merely the ornamentation of a particular part of an estate. Switzer saw that a whole estate could be enjoyed as an aesthetic experience, and by the process of improving its value, could increase wealth. By encouraging improvers to see the garden in his enlarged sense, he opened up the adjoining countryside, the landscape, and made the whole a subject of unified design. Some few followed his advice immediately, such as Bathurst at Cirencester. But it took some time for his ideas to become generally accepted. Could this vision, and its working out in practice between 1710 and 1740 be the very reason for such changes? 300 years after the first volume of his writings began to be published; this book offers a timely critical examination of lessons learned and Switzer's roles. In major influential early works at Castle Howard and Blenheim, and later the more "minor" works such as Spy Park, Leeswood or Rhual, the relationships between these designs and his writings is demonstrated. In doing so, it makes possible major reassessment of the developments, and thus our attitudes to well-known works. It provides an explanation of how he, and his colleagues and contemporaries first made what he had called Ichnographia Rustica, or more familiarly Modern Gardening from the mid-1740s, land later landscape gardens. It reveals an exceptional innovator, who by transforming the philosophical way in which nature was viewed, integrated good design with good farming and horticultural practice for the first time. It raises the issue of the cleavage in thought of the later 18th century, essentially whether the ferme ornee as the mixture of utile and dulci was the perfect designed landscape, or whether this was the enlarged garden with features of "unadorned nature"? The book discusses these considerable and continuing contrary influences on later work, and suggests Switzer has many lessons for how contemporary landscape and garden design ought be perceived and practised.

If you can set up your laptop anywhere, what is the meaning of the dedicated workspace? New Work, New Workspace argues that designated space is still needed, but that it is changing fast. As collaborative interaction is favoured over individual toil, with millenials and Gen X taking a very different attitude to work, and as social upheaval and technological innovation influence the form nthat the places take in which we are employed forever. Metrics for measuring the effectiveness of workspace show that good design, which is focused on the environment and wellbeing that a workforce needs, is still valued. At the same time, more generic spaces, such as co-working spaces, have to fit everyone - or at least all of the target community. Detailed case studies showcase all the places where people work - in large and small offices, in home spaces, in ateliers and workshops and architects' studios. With emphasis on the design details of the space, especially the interior, this is a must-have book providing inspiration for all types and scales of workplace. Case studies include: 80 Atlantic Avenue, Toronto, Canada by Quadrangle Nick Vesey Studio and Gallery, Kent, UK by Guy Hollaway Architects Kostner House, Castelrotto, Italy by MoDus Architects GS1 Portugal, Lisbon, Portugal by Promontorio

A compelling personal account of Terry Farrell's life in architecture, as an influential Postmodern designer, architect-planner and principal of a leading global practice. What have the defining projects and watershed moments and encounters been in Farrell's career? How has did he secure significant building projects such as Charing Cross, The MI6 Building and Beijing South Station? What have the highs and lows been in realising such large-scale schemes? Providing the inside view of what it is like to be an architect at the top of his profession, this autobiography highlights what it takes to develop a successful international practice. Farrell, alongside his High-Tech contemporaries, was a game-changer in the way he ran his business, with a deep commitment to marketing and finance. Working with the private sector, he made a complete break from a previous post-war generation of firms that were almost solely reliant on publicly funded building programmes. Tracing the story of his early life growing up in Greater Manchester and then on the post-war Grange Estate in Newcastle, before attending Newcastle University and the University of Pennsylvania in Philadelphia, and subsequently setting up in practice in London with Sir Nicholas Grimshaw in 1965, it highlights how Farrell, despite his working-class background, was able to seize the opportunities provided to him in the 1950s through free access to education. Featuring a richly illustrated full-colour section, including photos from his own private collection and images of Farrell's most significant buildings, this book is a window into the life and career of one of Britain's leading architects.

When architecture is the subject of an exhibition, there is almost always a dilemma: architecture can only be represented through drawings, models, and photographs; the physicality of architecture per se is missing. The abstraction of architecture for exhibition and the absence of architectural experience in architectural exhibition are in fact two sides of the same coin: The problem of the lack of an architectural reality. In this book, Yong He Chang traces the history of architectural intervention in exhibitions and answers the above questions through more than forty exhibition designs made by Chang and Atelier FCJZ. The book showcases his original approach to construction and shares his thoughts on the relationship between architecture and the timeless aspects of 'exhibition'. It also includes a discussion of a series of issues Yong He Chang and his team have encountered in designing exhibitions and installations, and the responses they came up with.

The UNESCO headquarters in Paris. The Pirelli skyscraper in Milan. The Palazzetto dello Sport in Rome. The "soaring beauty" of Pier Luigi Nervi's visionary designs and buildings changed cityscapes in the twentieth century. His uncanny ingenuity with reinforced concrete, combined with a gift for practical problem solving, revolutionized the use of open internal space in structures like arenas and concert halls. Aesthetics and Technology in Building: The Twenty-First-Century Edition introduces Nervi's ideas about architecture and engineering to a new generation of students and admirers. More than 200 photographs, details, drawings, and plans show how Nervi put his ideas into practice. Expanding on the seminal 1961 Norton Lectures at Harvard, Nervi analyzes various functional and construction problems. He also explains how precast and cast-in-place concrete can answer demands for economy, technical and functional soundness, and aesthetic perfection. Throughout, he uses his major projects to show how these now-iconic buildings emerged from structural truths and far-sighted construction processes. This new edition features dozens of added images, a new introduction, and essays by Joseph Abram, Roberto Einaudi, Alberto Bologna, Gabriele Neri, and Hans-Christian Schink on Nervi's life, work, and legacy.

Yona Friedman is recognised as one of the most eminent proponents of 1960s avant-garde urbanism. His best-known work is the concept for a Spatial City ("La Ville Spatiale", 1956), in which he aimed to provide maximum flexibility through "megastructures" over existing cities and other locations. Inhabitants were meant to design their dwellings within these structures. Friedman sought to provide people in every part of the world with the knowledge and fundamental structures to determine their own environment for living and to enhance their independence and self-reliance. This new book offers a unique collection of brief texts and annotations as well as an abundance of images, sketches, drawings, watercolours etc. by Friedman himself. It also features a vast range of documents related to his work. In part II, Manuel Orazi gives an analysis of Friedman's oeuvre, based on extensive research. He follows the architect's progress through disciplinary and geographic areas apparently remote from one another, in which Friedman has been moving erratically and incessantly. Orazi also expands on historical, social and political contexts.A documentation of Friedman's intellectual relationships and other resources, an interview with Swiss architect Bernard Tschumi about Friedman, and a comprehensive bibliography round out the book.

Duplex Architects were founded in 2007 in Zurich and now also run offices in Dusseldorf, Hamburg, and, most recently, in Paris. They have gained an excellent reputation internationally for their designs of various scales and across a vast range of typologies. This first monograph on Duplex Architects' work in Germany and Switzerland offers a close look at their approach to housing design. Five projects in Switzerland are documented extensively through a wealth of images, plans, and visualisations, exemplifying the firm's position on urban planning, typology research, and materiality and demonstrating their utterly independent way of working. Urban scale, search for new forms of communal living, the importance of community, and a collaborative design process are at the core of Duplex Architects' explorations into residential architecture. Nele Dechmann's text and Ludovic Balland's photo essay serve to illuminate Duplex Architects' work each in their own way. Further texts are contributed by the firm's founding partners Anne Kaestle and Dan Schurch, as well as by other expert authors, who cast their own personal glance at the five projects featured in this book.

C.F.A. Voysey (1857-1941) was an architect-designer who advocated honest and thorough design, and championed high standards of craftsmanship applied only to the finest materials. The resulting objects-simple yet elegant, often enhanced by beautiful and symbolic decoration-were considered revolutionary in their time and continue to enchant audiences today. The first substantial monograph to be published in 20 years, this comprehensive book focuses on Voysey as a designer of furniture, metalwork and textiles, providing a new analysis of his characteristic motifs and designs. It draws on the greatest public and private collections of his work to give a complete and fully illustrated account of Voysey's output and his vision for domestic life at the turn of the twentieth century. Original drawings and plans, archive photography and images of a vast selection of surviving objects are brought together here in a fresh examination of the Arts and Crafts pioneer. The authors' extensive new research documents the personal and professional relationships that enabled Voysey to become a great and prolific designer. The book draws together new information on how he ran his business; how he promoted, exhibited and sold his work; who his clients were; who was responsible for manufacturing his designs; and what a Voysey house and interior looked like.

Since the 1980s, Vitra has enlisted some of the world's leading architects to design buildings for its campus, including Zaha Hadid, Frank Gehry, Tadao Ando, SANAA, Alvaro Siza, Nicholas Grimshaw and Herzog & de Meuron. This has resulted in a unique architectural ensemble that attracts 350,000 visitors each year, about which Philip Johnson wrote: "Since the Weissenhofsiedlung in Stuttgart in 1927, there has not been a gathering in a single place of a group of buildings designed by the most distinguished architects in the Western world." While the renowned Vitra Design Museum presents alternating exhibitions, the Schaudepot gives visitors an insight into parts of the museum's extensive collection. In addition, during their time on the Campus, visitors can take part in a guided tour of the architecture or a workshop, enjoy the view from the Vitra Slide Tower and afterwards slide down the 37-meter-long slide, experience furniture classics and new products from the Vitra Home Collection in the VitraHaus as well as savour the offers of the shops and cafes. Originally published in 2014, this revised flexibound edition of The Vitra Campus offers an overview of Vitra architecture, its daily use, the development of the Campus and biographies of the contributing architects. An ideal souvenir and campus guide, The Vitra Campus is also a fascinating read about some of the most significant architects and buildings of our time.

Singapore's Orchard Road sits alongside New York's Fifth Avenue and Paris' Champs Elysees in the pantheon of prestigious retail districts. For more than 40 years, DP Architects has contributed to the development of Orchard Road's architectural typography, the regionalism of which is flavoured with a uniqueness born of inventiveness and an accommodation of contextual forces. Evolution of a Retail Streetscape is much more than simply a lush visual and textual narrative showcasing DP Architects' extensive contribution to the character, growth and personality of the famous Singapore shopping and entertainment precinct. It also explores the concept of retail architectural typology generally, provides a brief contextual history of Singapore from British colonisation onwards, outlines the development and evolution of Orchard Road in particular, and explores some of the world's other famous shopping streets.

An authoritative and insightful study, surveying the life and work of "the greatest of the English artist-craftsmen" This study of the renowned designer-maker Ernest Gimson (1864-1919) combines biography with analysis of his work as an architect and designer of furniture, metalwork, plaster decoration, embroidery, and more. It also examines Gimson's significance within the Arts and Crafts Movement, tracing the full arc of his creative career, ideas, and legacy. Gimson worked in London in the 1880s, joining the circle around William Morris at the Art Workers' Guild and the Society for the Protection of Ancient Buildings. He later moved to the Cotswolds, where he opened workshops and established a reputation for distinctive style and superb quality. Gimson's work influences designers today and speaks directly to ongoing debates about the role of craft in the modern world; this book will be the standard reference for years to come.

Though lacking any formal education in architecture, Jean Prouve (1901-1984) became one of the most influential architects of the twentieth century, boldly experimenting with new building designs, materials and methods. Prouve was raised in an environment of artistic, socially motivated innovation: his father belonged to "l'Ecole de Nancy," a collective that sought to unite art, industry and social awareness. He continued this practice throughout his adulthood, opening the Ateliers Jean Prouve to manufacture standardized, economical goods on a mass scale--which, during World War II, included creating portable and demountable barracks. After the war, the French government commissioned Prouve to design inexpensive, effective housing for the newly homeless, prompting him to perfect his patented axial portal frame to build easily constructed demountable houses. Despite their advantages, though, few of these architectural triumphs were built, and even fewer survive. In order to preserve Prouve's architectural and engineering legacy, the Galerie Patrick Seguin has worked tirelessly to promote Prouve's "constructional philosophy," exhibiting his designs and showcasing his ecologically responsible methodologies. "Jean Prouve Maison Demontable 8x8 Demountable House," the second of nine monographs published by the Galerie Patrick Seguin on Prouve's housing modules, highlights the second of these modules. Introduced by Catherine Coley, renowned art and architectural historian, it contains Prouve's sketches, black-and-white photographs of the designer at work and detailed examples of the building process.

Almost everything that landscape architects design is ultimately for a community. Community can be the boon or bane of a project, and oftentimes both. LA+ COMMUNITY aims to explore how, over time, each of us moves in and out of multiple communities, shaping them as they shape us, and in turn shaping our landscapes and cities. We ask how different disciplines construct different ideas of community and how those communities are anchored in space and time, whose interests they serve, and what traces they leave. And we examine how - in this pluralistic, fragmented, and fluid world - designers can meaningfully engage with communities. Contributions from: Anne Whiston Spirn reflects upon her personal and professional journey through her long-term engagement with the Mill Creek community in the West Philadelphia Landscape Project. Architect and cofounder of the DisOrdinary Architecture Project Jocelyn Boys discusses how designers and policy-makers make assumptions about the "ordinary user" of public space and explores ways of understanding and improving how people with disabilities engage with such spaces. Historical geographer Garrett Dash Nelson contemplates the conceptual and practical slippages between understanding community in both its geographical and sociological forms, and what this means for designers seeking to give spatial form to the concept of community. A multi-perspective Q+A with BIPOC designers, educators, and artists Kofi Boone, Julian Agyeman, Hanna Kim, Alma du Solier, Jeffrey Hou, Melissa Guerrero, and Kat Engleman confronts the enduring practices of spatial injustice and the need for new processes, engagement, and outcomes for a racially and culturally inclusive future. Philosopher and author Mark Kingwell considers the literal ins and outs of the question "What is community?" in the midst of a global pandemic. Landscape architect Kate Orff speaks about the ways in which she uses community activism and different practices of engagement to drive better design outcomes. Criminologists James Petty + Alison Young open our eyes to the rise of hostile architecture and criminalisation of homelessness in public space. Designer Chrili Car reflects on lessons learned from working with a self-organised community in a remote village in northern Ghana to masterplan long-term local sustainability and greenbelt projects. Ecologist Jodi Hilty, President and Chief Scientist of the Yellowstone to Yukon Initiative, speaks about the realisation of this visionary wildlife-corridor project spanning 3,200 km, two countries, and hundreds of different communities and interests. Historic preservationist and planner Francesca Russello Ammon teases out the contradictions in the canonical urban renewal success story of Philadelphia's Society Hill. Landscape architect Jessica Henson gives us the inside story on the intractably complex socio-political and ecological task of master planning a 51-mile swath of the Los Angeles River with a diverse range of user communities. Michael Schwarze-Rodrian recounts the extraordinary achievements of the Emscher Landscape Park in Germany's Ruhrgebiet, where over the last 30 years a working-class community facing the trauma of transition to a post-industrial economy has been sustained by the medium of landscape, without the forms of displacement or gentrification typically associated with high-end greening. Urban planner and author of Just Sustainabilities Julian Agyeman elucidates what the culturally inclusive design of public space entails. Architect Mario Matamoros delivers a stinging critique of the way in which developers and designers in the Honduran city of Tegucigalpa dupe the public with cynical community consultation so as to anesthetise the possibility of dissent, and Sara Padgett Kjaersgaard interviews the CEO of the Federation of Traditional Owner Corporations, Paul Paton and landscape architect Anne-Marie Pisani about working with Indigenous communities in Australia to help facilitate self-determination and connection to their lands.

Ahrends, Burton and Koralek (ABK) was established in London in 1961 by three young AA graduates, Peter Ahrends, Richard Burton and Paul Koralek. By the 1970s, ABK was known as one of the most creative and versatile of Britain's younger practices, its workload ranging from college buildings in Oxford and Chichester to housing, public libraries, retail and industrial buildings. While influenced by High-tech, their buildings were characterised by a concern for strong form and materiality. Major projects of the 1980s included stations for the Docklands Light Railway and the pioneering St Mary's Hospital on the Isle of Wight, as well as buildings at Hooke Park in Dorset designed in collaboration with Frei Otto. ABK's victory in the prestigious 1982 competition for an extension to the National Gallery in London reflected the firm's standing but the scheme was abandoned following a controversial intervention by the Prince of Wales. Written by eminent architectural author and critic, Kenneth Powell, and lavishly illustrated with images from the practice's archive and stunning new photography, this book is an essential read for architects, students, architectural historians and anyone who is interested in learning more about a key practice in British post-war architecture. This book has been commissioned as part of a series of books on Twentieth Century Architects by RIBA Publishing, English Heritage and The Twentieth Century Society.

The borough of Queens has long been celebrated as the melting pot of America. It was the birthplace of North American religious freedom in the seventeenth century, hosted two World's Fairs in the twentieth, and is currently home to over a million foreign-born residents participating in the American experience. In 2013, Spanish-born artist and architect Rafael Herrin-Ferri began to paint a portrait of the "World's Borough"-not with images of its diverse population, or its celebrated international food scene, but with photographs of its highly idiosyncratic housing stock. While All the Queens Houses is mainly a photography book celebrating the broad range of housing styles in New York City's largest and most diverse county, it is also a not-so-subtle endorsement of a multicultural community that mixes global building traditions into the American vernacular, and by so doing breathes new life into its architecture and surrounding urban context. With an introductory essay by Joseph Heathcott.

The architecture of Michael Hopkins' (b.1935) formative years has evolved into something that defies easy stylistic categorization. In buildings such as Glyndebourne Opera House, the Inland Revenue Centre and the New Parliamentary Building, a new individuality has emerged. These works have the uncompromising quality of certain nineteenth-century industrial buildings, yet they have gained acceptance among some of Britain's most ancient institutions. They are often hybrid creations, juxtaposing strongly contrasting elements, while remaining loyal to a strict code of truth to materials and honesty of expression. Traditional and new forms of construction are combined in unconventional ways, often using innovative prefabrication techniques, but without sacrificing traditional craft virtues. Detailed presentations of 26 buildings and projects analyse the genesis and logic of a unique - and now instantly recognizable - architectural scope. This book's publication coincided with Hopkins' most important commission to date - the New Parliamentary Building in London - which enjoys an extensive presentation and detailed discussion by Patrick Hodgkinson. An essay by respected architecture critic Charles Jencks examines themes and historical precedent in the buildings, whereas an interview with Michael Hopkins himself gives a personal perspective to the momentous work and office of Michael Hopkins and Partners.

The importance of A. W. N. Pugin (1812-52) in architecture and design in England and beyond is incontestable. The leading architect of the Gothic Revival, Pugin is one of the most significant figures of the mid-nineteenth century and one of the greatest designers. His correspondence furnishes more insight into the man and more information about his work than any other source. This volume, the last of five, contains letters from 1851 and the first months of 1852; after that, Pugin's health failed and he died in September. In the great event of the period, the international exhibition held in the Crystal Palace in Hyde Park, the display of objects made to Pugin's design, which he planned and oversaw, was an outstanding success, bringing substantial commercial benefit to his colleagues and spreading Pugin's influence even more widely than before. The value of his judgment was recognized in his appointment to two committees in connection with the Great Exhibition. Frantic though the preparations for what came to be known as the Medieval Court were, Pugin made time to write for publication. He issued letters and pamphlets in explanation, defence, and support of the Catholic Church and its re-established hierarchy, and turned again to the conundrum that had long teased him, the relation between the faith and the form, not only architectural, in which it found expression. He completed the book on chancel screens conceived some years before. At home in The Grange at Ramsgate, he continued to design stained glass windows, for other architects as well as his own clients, and supervised the production of cartoons; he poured out designs in his usual fields of metalwork, ceramics, furniture, carving, and wallpaper, and branched out, not always happily, into new areas such as embroidery and the decoration of piano cases. The demand for drawings for Westminster, where the House of Commons was due to open early in 1852, was as incessant as ever. His last child, Edmund Peter, was born in 1851 only a few months before his first grandchild, Mildred. Both were baptized in the church of St Augustine which he was still building next to his house and where he himself was soon to be laid in the vault he provided for the purpose. The volume also includes some letters which have come to light too late for inclusion in their proper chronological places and some texts of doubtful authenticity.