Court day in early Virginia transformed crossroads towns into forums for citizens of all social classes to transact a variety of business, from legal cases heard before the county magistrates to horse races, ballgames, and the sale and barter of produce, clothing, food, and drink. As marketplace, playing field, social center, and administrative and judicial county seat, the courthouse grounds gave rise to an array of public and private buildings. The Courthouses of Early Virginia is the first comprehensive history of the public buildings that formed the nucleus of this space and the important private buildings that grew up around them.

Carl R. Lounsbury surveys the architectural history of these buildings, from their undifferentiated forms in 1650 to 1800, when they had developed into specialized structures that reflected the growth of a wealthy agricultural society built on slave labor. After setting the context of legal and social affairs that conditioned the design, construction, and function of county government buildings, he examines the example of Yorktown. He then proceeds with a thematic exploration of issues including the rise of courthouses of greater civic aspiration and aesthetic ambition, the public building process, attitudes toward punishment and prisons, and the role of taverns and clerk's offices in the legal process. He concludes with a discussion of the evolution of the courthouse grounds into the broader civic squares that characterized many Virginia cities and towns by the early nineteenth century.

With abundant drawings, photographs, and maps and a checklist of important public buildings in early Virginia, Lounsbury's study will fascinate and delight architectural historians, architects, students, and Virginians involved in law and government.

Colonial Williamsburg Studies in Chesapeake History and Culture

CALL TO ORDER, the first in a series of books to be produced by the University of Miami School of Architecture, is inspired by rappel l'ordre, the post WWI, European, art movement that rejected the extreme tenants of the avant garde and its praise of machinery, violence and war, in favor of a renewed interest in tradition. CALL TO ORDER, suggests a re-grouping and a re-grounding upon the foundations of the discipline and examines an international group of architects who are ostensibly rehearsing the ethos of the Neo-rationalist movement when architects and thinkers converged in their resistance to what they saw as an erosion of the discipline by behaviorism and the social sciences. CALL TO ORDER frames and examines similar resistant practices in the contemporary architectural scene and in the context of a long historical trajectory to tease out and articulate a cultural project that is relevant to the ongoing architectural debate.

The Singapore shophouse is an architectural gem - a particular building form that is unique to the island. This book traces its development from rudimentary shophouse through various incarnations of decorative style - Neoclassical, Chinese Baroque, Jubilee-style, Edwardian, Rococo, Tropical Modern - all the while commenting on the various influences that fuelled its evolution. Each individual feature of the shophouse is examined, as is its change from rudimentary out-of-China structure to sophisticated dwelling house. Numerous examples of shophouse interiors today complete the odyssey - showcasing Shophouse as Temple, Clan House, Home, Boutique Hotel, Shop, Restaurant Coffeeshop and more, we see how these heritage buildings continue to be relevant in the era of the skyscraper and shopping mall. This is the first qualitative study of neo Chinese architecture and how it was effectively adapted by successive colonial authorities throughout the 19th and 20th centuries so much so that its enduring qualities of form and function continues to resonate.

Adrian Smith + Gordon Gill Architecture's, 2006-2021 monograph showcases the spectacular work of the firm from the first 15 years of its practice through drawings, renderings, model photography, photography of built work, competition entries, exhibition materials, master plans, interiors, and special research projects and publications. The projects featured in the monograph cover a wide variety of AS+GG's high-performance, energy-efficient, aesthetically striking architecture on an international scale in a wide range of typologies and scales, from low- and mid-rise residential, commercial, and cultural buildings to mixed-use supertall towers. Projects explored include supertall towers, large-scale mixed-use complexes, corporate offices, exhibition facilities, cultural facilities and museums, civic and public spaces, hotels and residential complexes, institutional projects, and high-tech laboratory facilities.

Architecture of Coexistence: Building Pluralism This book investigates how architecture can shape an open-minded and inclusive society, highlighting three internationally renowned projects: the White Mosque in Visoko, Bosnia-Herzegovina (1980); the Islamic Cemetery Altach in Altach, Austria (2012); and the Superkilen public park in Copenhagen, Denmark (2012). Scholarly essays across various disciplines, along with interviews with the architects and users of these projects, provide intriguing insights into architecture's ability to bridge cultural differences. Soliciting a wide array of questions about migration, transculturalism, visibility, inclusion, and exclusion, the book sheds light on the long-term social processes generated between architectural form and its users. Architecture of Coexistence offers a truly interdisciplinary perspective on a very timely subject: "Building pluralism" means designing for a respectful inclusion of different cultural needs, practices, and traditions. With contributions by Azra Aksamija, Mohammad al-Asad, Ali S. Asani, Simon Burtscher-Matis, Amila Buturovic, Farrokh Derakhshani, Robert Fabach, Eva Grabherr, Amra Hadzimuhamedovic, Tina Gudrun Jensen, Jennifer Mack, Nasser Rabbat, Barbara Steiner, Helen Walasek and Wolfgang Welsch. Photo essays by Velibor Bozovic, Cemal Emden, Jesper Lambaek, and Nikolaus Walter.

Vladimir Belogolovsky's Harry Seidler: The Exhibition leaves no stone unturned in documenting his ongoing, four years in the making to date, world tour exhibition, Harry Seidler: Painting Toward Architecture. It examines the blurry boundaries between art and architecture and how these disciplines inspire one another by bringing to focus the work of Vienna-born Australian modernist Harry Seidler and his creative collaborations with a dozen of world-renowned architects and artists. Curator of 20 Seidler exhibitions and author of Harry Seidler: Lifework (Rizzoli, 2014), Belogolovsky provides detailed insights into the project from beginning to end: pitching initial exhibition idea to the client, developing its concept, arranging the tour, preparing the content, designing individual exhibitions, managing installations, presenting the lecture, initiating new collaborations and projects. The book's focus on a single touring exhibition is unprecedented; it explores what typical exhibition catalogues miss entirely - spatial engagement with the content by the public. In its attempt to present various aspects of a single exhibition the book raises fundamental curatorial issues beyond the project in question.

Twenty different cinemas have graced Reading's streets over the years, many long forgotten and some of the earliest very short-lived. Picture Palace to Penny Plunge tells the story of the era of the single-screen cinema in Reading, from the travelling shows at the turn of the twentieth century, its heyday with the Vaudeville Electric Theatre in the 20s, through to today's multiscreen entertainment 'villages' and outdoor screenings. It traces the technological developments and how they influenced the types of buildings, the numbers of seats, prices, programmes, refreshments and ownership. It describes each cinema, in the order of its opening, and includes appendices listing some of the films made in or near Reading, and some of the film actors and directors with Reading connections. Illustrated throughout with contemporary photographs and drawings, this book will bring back happy memories and is a unique record of Reading's cinematic history.

Vast sums of money spent to design, construct, and maintain museum additions demand great accountability of museum leaders and design professionals towards visitors and employees. Museum visitors today come not only to view works of art, but also to experience museum architecture itself, resulting in most major cities competing to build new museum additions or new museum buildings to become world class tourist destinations. Shedding New Light on Art Museum Additions presents post-occupancy evaluations of four high-profile museums and their additions in the United States and helps museum stakeholders understand their successes, shortcomings, and how their designs affect both visitors and employees who use them every day. The book helps decision-makers assess the short-term and long-term impacts of future proposals for new museum additions and illuminates the critical importance of investing in employee work environments, and giving serious consideration to lighting, wayfinding, accessibility, and the effects of museum fatigue that arise from the lack of public amenities. Museum leaders, curators, architects, designers, consultants, patrons of the arts and museum visitors will find this book to be a useful resource when planning and evaluating new building additions.

The first survey of the many redesigned and imitation historical landmarks and objects that dot the globe "John Darlington shows . . . it is not just written history that is malleable; it is also history on the ground, heritage in brick and stone, wood and metal."-Simon Jenkins, Times Literary Supplement What happens when the past-or, more specifically, a piece of cultural heritage-is fabricated? From 50 replica Eiffel Towers located around the world to Saddam Hussein's reconstructions of ancient cities, examples of forged heritage are widespread. Some are easy to dismiss as blatant frauds (the Piltdown Man), while others adhere to honest copying or respectful homage (the Parthenon in Nashville, Tennessee). This compelling book examines copies of historic buildings, faux archaeological sites, and other false artifacts, using them to explore the ethics and consequences of reconstructing the past; it also tackles the issues involved with faithful, "above-board" re-creations of ancient landmarks. John Darlington probes questions of historical authenticity, seeking the lessons that lurk when history is twisted to tell an untrue story. Amplified by stunning images, the narrative underscores how the issue of duplicating heritage is both intriguing and incredibly complex, especially in the twenty-first century-as communication and technology flourish, so too do our opportunities to be deceived.

For 17 days in June 2016 the Luminato Festival transformed the Hearn Generating Station in the Port Lands in Toronto into the largest temporary cultural and community center in the world. The Hearn Generating Station is three times the size of Tate Modern and fits the Statue of Liberty in it upright. It was decommissioned in 1983 and apart from serving as a location for movie shoots, such as Robocop and Pacific Rim, has been closed to the public. Around 100,000 people visited the Hearn Generating Station and experienced large-scale exhibitions, theater performances, classical, pop, electro concerts, club events, talks, parkour workout sessions, drag queen shows, a high end French bistro run by Canada s top chefs in the former control room and no walls. Luminato Festival s residency at the Hearn was inspired by three ideas: Jane Jacob s dogma that new ideas must use old buildings . Ariane Mnouchkine s hierarchy free theater company Theatre du Soleil. Cedric Price s and Joan Littlewood s Fun Palacethinking about architecture in terms of process and events in time rather than objects in space.Into the Culture Cave fully documents this remarkable Festival and the 17 days that created a live proposal for the future of this building and outlined a model for a multi-disciplinary cultural institution of the twenty-first century that is able to reflect the values of openness and diversity of the society that it is founded in. Conventional multi-disciplinary institutions like the Barbican Centre still separate in space and not in time. In the "Culture Cave" this rule is inverted. Everything happens in one huge spaceinspired by the cave, the earliest form of human shelterbut is separated in time. Audiences are able to experience the entire breadth of human activity and creativity and do not have to prioritize."

This comprehensive guide to the buildings of South-West Lancashire treats each city, town, and village in a detailed gazetteer. The great port city of Liverpool dominates, with its cathedrals, mighty commercial buildings and warehouses, and Georgian inner city. Full accounts are also given of the suburbs and industrial towns beyond. But most of the area remains rural, and in this distinctive landscape are found such memorable buildings as Sefton church, Speke Hall, and the Georgian country houses of Knowsley, ancestral seat of the Earls of Derby, and Ince Blundell, with its extraordinary Neoclassical sculpture gallery. Numerous maps and plans, color photographs, indexes, and an illustrated glossary complete this volume.

Designing Public Spaces in Hospitals illustrates that in addition to their aesthetic function, public spaces in hospitals play a fundamental role concerning people's satisfaction and experience of health care. The book highlights how spatial properties, such as accessibility, visibility, proximity, and intelligibility affect people's behavior and interactions in hospital public spaces. Based on the authors' research, the book includes detailed analysis of three hospitals and criteria that can support the design in circulation areas, arrival and entrance, first point of welcome, reception, and the interface between city and hospital. Illustrated with 150 black and white images.

Many people who live in and visit the Lake District are charmed by the traditional buildings that enhance the landscape. This book introduces the traditional houses, barns, watermills, and chapels of the Lake District and the surrounding hills and valleys that make up the county of Cumbria. With the aid of hundreds of photographs, drawings, and diagrams, the author explains how the building types have developed over the centuries and how the indigenous building materials of stone, clay, brick, and slate have been used to create works of vernacular architecture that seem to grow out of the surrounding landscape.

Nathan Coley is a publication documenting a public art project in London by Glasgow-based contemporary artist Nathan Coley (b.1967). At a time when housing and the property market are at the centre of much social, political and economic debate, Coley's project is a pertinent and thought-provoking exploration of issues of housing, ownership, history and activism. In the mid-late 1960s, the Greater London Council moved local authority tenants out of their run-down terraced houses in the Freston Road area of the Royal Borough of Kensington and Chelsea and into newly built blocks of flats nearby. The council was planning to knock down the terraced houses and to regenerate the area, but the plans were beset by delays so the houses lay derelict for almost a decade. During the 1970s a group of squatters began moving into the old houses - there were around 150 people living in 35 houses at one point towards the end of the decade. In late summer 2015, on the site where Frestonia once stood, the first phase of apartments designed byHaworth Tompkins Architects and built by the charitable organisation The Peabody Trust was completed. With one third of the properties for sale, one third for rent, and one third under the management of the Housing Association, the complex, called The Silchester (More West) development, consists of 112 apartments. Nathan Coley was commissioned to make new artwork for the site. Based on the form of an apple tree - inspired by the history of the Bramley apple that gave its name to the Frestonia residents - Coley has not only made a striking steel and gold leaf rooftop sculpture, but also 112 small versions of the same sculpture that have been given to each of the residents as a house warming present. In doing so, Coley not only connects the new housing complex and its residents with its local history, but to wider discourses of modernism and sculpture, art and society, capitalism and alternative modes of living. The publication, which forms part of the artist's commissioned project, presents a variety of texts, images and documentation relating to the new housing development, to the history of the Bramley apple and to Frestonia - including a selection of archive photographs of Frestonia taken by former resident Tony Sleep.

As a building type, art museums are unparalleled for the opportunities they provide for architectural investigation and experimentation. They are frequently key components of urban revitalization and often push the limits of building technology. Art museums are places of pleasure, education and contemplation. They are remarkable by their prominence and sheer quantity, and their lessons are useful for all architects and for all building types.

This book provides explicit and comprehensive coverage of the most important museums built in the first ten years of the 21st Century in the United States and Europe. By dissecting and analyzing each case, Ronnie Self allows the reader to get under the skin of each design and fully understand the process behind these remarkable buildings. Richly designed with full technical illustrations and sections the book includes the work of Tadao Ando, Zaha Hadid, Peter Cook & Colin Fournier, Renzo Piano, Yoshi Taniguchi, Herzog & de Meuron, Jean Nouvel, SANAA, Daniel Libeskind, Diller Scofidio & Renfro, Steven Holl, Coop Himmelb(l)au, Bernard Tschumi, Sauerbruch Hutton, and Shigeru Ban & Jean de Gastines.

Together these diverse projects provide a catalogue of design solutions for the contemporary museum and a snapshot of current architectural thought and culture. One of few books on this subject written by an architect, Self s analysis thoroughly and critically appraises each project from multiple aspects and crucially takes the reader from concept to building. This is an essential book for any professional engaged in designing a museum."

Memorials have long been an important part of our built environments. In recent decades, there have been enormous changes in who and what we commemorate, and how. This increasing need for unique and sensitive memorials opens up new creative horizons for architects tasked with translating complex subjects and feelings into emotive spatial experiences that are as memorable as they are commemorative. This book showcases 45 contemporary memorials dating from since the beginning of the 21st century. Hauntingly eloquent, or starkly confrontational, each example highlights the effectiveness of such structures in focusing society’s consciousness on important and diverse issues. From Argentina to New Zealand, Comoros to South Korea, the memorials represent a wide geographical spread, and each interacts in original and surprising ways with its context. Interspersed with the memorials are interviews with leading international architects, including Carmody Groarke, MASS Design Group, Michael Arad, Moshe Safdie, Philippe Prost and others. Their words offer insights into how architects have given form to such abstract concepts as loss, love, permanence, peace, justice, hope and memory itself.

Bathhouses (hamams) play a prominent role in Turkish culture, because of their architectural value and social function as places of hygiene, relaxation and interaction. Continuously shaped by social and historical change, the life story of Mimar Sinan's Cemberlitas Hamami in Istanbul provides an important example: established in 1583/4, it was modernized during the Turkish Republic (since 1923) and is now a tourist attraction. As a social space shared by tourists and Turks, it is a critical site through which to investigate how global tourism affects local traditions and how places provide a nucleus of cultural belonging in a globalized world. This original study, taking a biographical approach to tell the story of a Turkish bathhouse, contributes to the fields of Islamic, Ottoman and modern Turkish cultural, architectural, social and economic history.

While Le Corbusier's urban projects are generally considered confrontational in their relationship to the traditional urban fabric, his proposal for the Venice hospital project remained an exercise in preserving the medieval fabric of the city of Venice through a systemic replication of its urban tissue. This book offers a detailed study of Le Corbusier's Venice hospital project as a plausible built entity. In addition, it analyses it in the light of its supposed affinity with the medieval urban configuration of the city of Venice. No formal attempt to date has been made to critically analyse the hospital project's design considerations in comparison to the medieval urban configuration of the city of Venice. Using a range of methodologies including those from architectural theory and history, using archival resources, on-site analysis, and interviews with important resource persons, this book is an interpretation of the conceptual basis for Le Corbusier understanding of the structural formulation of the city of Venice as mentioned in The Radiant City (1935). In doing so, it deciphers the diagrammatic analysis of the city structure found in this work into a set of coherent design modules that were applied in the hospital project and that could become a point of further investigation. Architects and other architecturally interested laypeople with an interest in Venice will find the book a valuable addition to their knowledge. For architectural historians the book makes an important link between modernism and the historically grown Venice.

Barns of New York explores and celebrates the agricultural and architectural diversity of the Empire State from Long Island to Lake Erie, the Southern Tier to the North Country providing a unique compendium of the vernacular architecture of rural New York. Through descriptions of the appearance and working of representative historic farm buildings, Barns of New York also serves as an authoritative reference for historic preservation efforts across the state.

Cynthia G. Falk connects agricultural buildings both extant examples and those long gone with the products and processes they made and make possible. Great attention is paid not only to main barns but also to agricultural outbuildings such as chicken coops, smokehouses, and windmills. Falk further emphasizes the types of buildings used to support the cultivation of products specifically associated with the Empire State, including hops, apples, cheese, and maple syrup.

Enhanced by more than two hundred contemporary and historic photographs and other images, this book provides historical, cultural, and economic context for understanding the rural landscape. In an appendix are lists of historic farm buildings open to the public at living history museums and historic sites. Through a greater awareness of the buildings found on farms throughout New York, readers will come away with an increased appreciation for the state's rich agricultural and architectural legacy."

The Future of Museum and Gallery Design explores new research and practice in museum design. Placing a specific emphasis on social responsibility, in its broadest sense, the book emphasises the need for a greater understanding of the impact of museum design in the experiences of visitors, in the manifestation of the vision and values of museums and galleries, and in the shaping of civic spaces for culture in our shared social world. The chapters included in the book propose a number of innovative approaches to museum design and museum-design research. Collectively, contributors plead for more open and creative ways of making museums, and ask that museums recognize design as a resource to be harnessed towards a form of museum-making that is culturally located and makes a significant contribution to our personal, social, environmental, and economic sustainability. Such an approach demands new ways of conceptualizing museum and gallery design, new ways of acknowledging the potential of design, and new, experimental, and research-led approaches to the shaping of cultural institutions internationally. The Future of Museum and Gallery Design should be of great interest to academics and postgraduate students in the fields of museum studies, gallery studies, and heritage studies, as well as architecture and design, who are interested in understanding more about design as a resource in museums. It should also be of great interest to museum and design practitioners and museum leaders.

Building Better Universities provides a wide-ranging summary and critical review of the increasing number of groundbreaking initiatives undertaken by universities and colleges around the world. It suggests that we have reached a key moment for the higher education sector in which the services, location, scale, ownership, and distinctiveness of education are being altered dramatically, whether universities and colleges want it or not. These shifts are affecting traditional assumptions about both the future shape of higher education institutions, and the roles of and relationships between learners, teachers, researchers, managers, businesses, communities and other stakeholders.

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Building Better Universities" aims to bridge the gap between educational ideas about what the university is, or should be for, and its day-to-day practices and organisation. It roams across strategic, operational, and institutional issues; space planning and building design; and technological change, in order to bring together issues that are often dealt with separately. By analysing the many challenges faced by higher education in the contemporary period, and exploring the various ways universities and colleges are responding, this powerful book aims to support a step-change in debates over the future of higher education, and to enable senior managers and faculty to develop more strategic and creative ways of enabling effective twenty-first-century learning in their own institutions."