Time, History and Architecture presents a series of essays on critical historiography, each addressing a different topic, to elucidate the importance of two influential figures Walter Benjamin and Gottfried Semper for architectural history. In a work exploring themes such as time, autonomy and periodization, author Gevork Hartoonian unpacks the formation of architectural history; the problem of autonomy in criticism and the historiographic narrative. Considering the scope of criticism informing the contemporaneity of architecture, the book explores the concept of nonsimultaneity, and introduces retrospective criticism the agent of critical historiography. An engaging thematic dialogue for academics and upper-level graduate students interested in architectural history and theory, this book aims to deconstruct the certainties of historicism and to raise new questions and interpretations from established critical canons.

**Finalist for the Thought and Criticism category of the FAD Awards 2019** This book traces the ideal of total environmental control through the intellectual and geographic journey of Knud Loenberg- Holm, a forgotten Danish architect who promoted a unique systemic, cybernetic, and ecological vision of architecture in the 1930s. A pioneering figure of the new objectivity and international constructivism in Germany in 1922 and a celebrated peer of radical figures in De Stijl, the Bauhaus, and Russian constructivism, when he emigrated to Detroit in 1923 he introduced the vanguard theory of productivism through his photography, essays, designs, and pedagogy. By following Loenberg- Holm's ongoing matrix of relations until the postwar era with the European vanguards in CIAM and former members of the Structural Study Associates (SSA), especially Fuller, Frederick Kiesler, and C. Theodore Larson, this study shows how their definition of building as a form of environmental control anticipated the contemporary disciplines of industrial ecology, industrial metabolism, and energy accounting.

A fascinating history of the carbon footprint of our concrete world-from ancient Roman architecture to urban cityscapes-and the trouble it spells for sustainability amidst rapid climate change. For readers of The Sixth Extinction and The Uninhabitable Earth , Concrete explores the history of a material that has been central to architecture and design for thousands of years-and what its future looks like in a world experiencing rapid climate change. Imagine a world without concrete: there'd be no skyscrapers, no grand irrigation projects, no out of season vegetables, no highways. There would be a shortage of electricity, more mud in some places, more solitude in others. But because of the fossil fuels and other resources required to make concrete, there also would also be less carbon dioxide in the atmosphere and less dramatic climate change. In Concrete: From Ancient Origins to a Problematic Future , Mary Soderstrom tells the story of concrete's surprising past, extravagant present, and uncertain future with careful research, lively anecdotes, and thoughtful reflection.

The past is weaponised in culture wars and cynically edited by those who wish to impose their ideology upon the physical spaces around us. Holocaust deniers use details of the ruins of the gas chambers Auschwitz to promote their lies: 'No Holes; No Holocaust'. Yet long-standing concepts such as 'authenticity' in heritage are undermined and trivialised by gatekeepers such as UNESCO. At the same, time, opposition to this manipulation is being undermined by cultural ideas that prioritise memory and impressions over history and facts. In Monumental Lies, Robert Bevan argues that monuments, architecture and cities are material evidence of history. They are the physical trace of past events, of previous ways of thinking and of politics, economics and values that percolate through to today. When our cities are reshaped as fantasies about the past, when monuments tell lies about who deserves honour or are destroyed and the struggle for justice forgotten, the historical record is being manipulated. When decisions are based on misinformed assumptions about how the built environment influences our behaviour or we are told, falsely, that certain architectural styles are alien to our cities, or when space pretends to be public but is private, or that physical separation is natural, we are being manipulated. There is a growing threat to the material evidence of the truth about history. We are in serious trouble if we can no longer trust the tangible world around us to tell us the truth. Monumental Lies explores the threats to our understanding of the built environment and how it impacts on our lives, as well as offers solutions to how to combat the ideological manipulations. Chosen as one of the best Architecture and Design books of 2022 by The Financial Times

This book brings together a dozen of Philip Steadman's essays and papers on the geometry of architectural and urban form, written over the last 12 years. New introductions link the papers and set them in context. There are two large themes: a morphological approach to the history of architecture, and studies of possibility in built form. Within this framework the papers cover the geometrical character of the building stock as a whole; histories of selected building types; analyses of density and energy in relation to urban form; and systematic methods for enumerating building plans and built forms. They touch on a range of key topics of debate in architectural theory and building science. Illustrated with over 200 black and white images, this collection provides an accessible and coherent guide to this important work.

In order to function, architectural theory and practice must be shaped to suit current cultural, economic, and political forces. Thus, architecture embodies reductive logic that conditions the treatment of human and social processes - which raises the question of how to define objectivity for architectural mentalities that must conform to a set of immediate conditions. This book focuses on meaning, and on the physical and mental processes that define life in built environments. The potential to draw knowledge from aesthetics, psychology, political economy, philosophy, geography, and sociology is offset by the fact that architectural logic is inevitably reductive, cultural, socio-economic, and political. However, despite the duty to conform, it is argued that the treatment of human processes, and the understanding of architectural mentalities, can benefit from interdisciplinary linkages, small freedoms, and cracks in a system of imperatives that can yield the means of greater objectivity. This is valuable reading for students and researchers interested in architectural theory as a working reality, and in the relationships between architecture and other fields.

This previously unpublished work is essential reading for anyone who has followed Marco Frascari's scholarship and teachings over the last three decades. It also provides the perfect introduction for anyone new to his writings. As ever, Frascari does not offer prescriptive tools and frameworks to enact his theories of drawing and imagination; instead, he teaches how to build one's own through individual practice. An illuminating introduction places the text in a wider context, providing the reader with a fascinating and important context and understanding to this posthumous work. Frascari's sketchbooks are reproduced faithfully in full colour to provide the reader with a remarkable insight into the design process of this influential mind.

Rethinking Basic Design in Architectural Education provides historical and computational insights into beginning design education for architecture. Inviting the readers to briefly forget what is commonly known as basic design, it delivers the account of two educators, Denman W. Ross and Arthur W. Dow, from the turn of the twentieth century in Northeast America, interpreting key aspects of their methodology for teaching foundations for design and art. This alternate intellectual context for the origins of basic design as a precursor to computational design complements the more haptic, more customized, and more open-source design and fabrication technologies today. Basic design described and illustrated here as a form of low-tech computation offers a setting for the beginning designer to consciously experience what it means to design. Individualized dealings with materials, tools, and analytical techniques foster skills and attitudes relevant to creative and technologically adept designers. The book is a timely contribution to the theory and methods of beginning design education when fast-changing design and production technology demands change in architecture schools' foundations curricula.

Whatever 'ugliness' is, it remains a problematic category in architectural aesthetics - alternately vilified and appropriated, either to shock or to invert conventions of architecture. This book presents eighteen new essays which rethink ugliness in architecture - from brutalism to eclectic postmodern architectural productions - and together offer a diverse reappraisal of the history and theory of postmodern architecture and design. The essays address both broad theoretical questions on ugliness and postmodern aesthetics, as well as more specific analyses of significant architectural examples dating from the last decades of the twentieth century, addressing the relation between the aesthetic register of ugliness and aesthetic concepts such as brutalism, kitsch, the formless, ad hoc-ism, the monstrous, or the grotesque. Architecture and Ugliness not only documents the history of a postmodern anti-aesthetic through a diverse set of case studies, it also sheds valuable light on an aesthetic problem which has been largely overlooked in architectural discourse. It is essential reading for all students and scholars with an interest in postmodern architectural history, architectural theory and aesthetics.

How do digital media (mobile phones, GPS, iPods, portable computers, internet, virtual realities, etc.) affect the way we perceive, inhabit and design space? Why do architects traditionally design, draw and map the visual, as opposed to other types of sensations of space (the sound, the smell, the texture, etc.)? Architecture is not only about the solid, material elements of space; it is also about the invisible, immaterial, intangible elements of space. This book examines the design, representation and reception of the ephemeral in architecture. It discusses how architects map and examine the spatial qualities that these elements create and questions whether - and if so, how - they take them into account in the designing process. Karandinou argues that current interest in the ephemeral in contemporary culture and architecture is related to the evolution of digital media; and that it is related to the new ways of thinking about space and everyday situations that new media enables. With sound and video recording devices now being embedded in everyday gadgets and mobile phones, capturing sounds or ephemeral situations and events has become an everyday habit. New animation techniques allow designers to think about space through time, as they are able to design dynamic and responsive spaces, as well as static spaces explored by someone over time. Contemporary video games are no longer based on a simple visual input and a keyboard; they now involve other senses, movement, and the response of the whole body in space. This book therefore argues that the traditional binary opposition between the sensuous and the digital is currently being reversed. Subsequently, new media can also function as a new tool-to-think-with about space. Designers are now able to think through time, and design spaces accordingly. Time, temporality, ephemerality, become central issues in the designing process. The notion first claimed by Marshall McLuhan in the 1960s, that the emergence of new di

A significant ideological transition has taken place in the discipline of architecture in the last few years. Originating in a displeasure with the 'starchitecture' system and the focus on aesthetic innovation, a growing number of architects, emboldened by the 2007-8 economic crisis, have staged a rebellion against the dominant mode of architectural production. Against a 'disinterested' position emulating high art, they have advocated political engagement, citizen participation and the right to the city. Against the fascination with the rarefied architectural object, they have promoted an interest in everyday life, play, self-build and personalization. At the centre of this rebellion is the call for architecture to (re-)assume its social and political role in society. The Efficacy of Architecture supports the return of architecture to politics by interrogating theories, practices and instances that claim or evidence architectural agency. It studies the political theories animating the architects, revisits the emergence of reformist architecture in the late nineteenth century, and brings to the fore the relation of spatial organization to social forms. In the process, a clearer picture emerges of the agency of architecture, of the threats to as well as potentials for meaningful societal transformation through architectural design.

Frank Lloyd Wright : The Early Years : Progressivism : Aesthetics : Cities examines Wright's belief that all aspects of human life must embrace and celebrate an aesthetic experience that would thereby lead to necessary social reforms. Inherent in the theory was a belief that reform of nineteenth-century gluttony should include a contemporary interpretation of its material presence, its bulk and space, its architectural landscape. This book analyzes Wright's innovative, profound theory of architecture that drew upon geometry and notions of pure design and the indigenous as put into practice. It outlines the design methodology that he applied to domestic and non-domestic buildings and presents reasons for the recognition of two Wright Styles and a Wright School. The book also studies how his design method was applied to city planning and implications of historical and theoretical contexts of the period that surely influenced all of Wright's community and city planning.

Films use architecture as visual shorthand to tell viewers everything they need to know about the characters in a short amount of time. Illustrated by a diverse range of films from different eras and cultures, this book investigates the reciprocity between film and architecture. Using a phenomenological approach, it describes how we, the viewers, can learn how to read architecture and design in film in order to see the many inherent messages. Architecture's representational capacity contributes to the plausibility or 'reality' possible in film. The book provides an ontological understanding that clarifies and stabilizes the reciprocity of the actual world and a filmic world of illusion and human imagination, thereby shedding light on both film and architecture.

The 18th-century rediscovery of the three archaic Greek-Doric temples in Paestum in southern Italy turned existing ideas on classical architecture upside down. The porous limestone temples with rough, heavy columns were entirely unlike the classical architecture travelers to the site were familiar with. Paestum, exceptional in the completeness of its ruins, came to fascinate architects, artists, writers, and tourists alike, who documented the site in drawings and texts. In Rediscovering Architecture, Sigrid de Jong analyzes extensive original source material, including letters, diaries, drawings, paintings, engravings, and published texts, which are attractively reproduced here. The book offers new insights on the explorations of the site, the diverse reactions to it, and their dramatic and enduring effect on architectural thought, as they influenced intellectual debates in England, France, and Italy during the long 18th century. This unique study of the experience of architecture reconstructs Paestum's key role in the discourse on classical architecture and its historiography, primitivism, the sublime and the picturesque, and the growing importance of science and history in architectural thought. Published for the Paul Mellon Centre for Studies in British Art

This volume examines one year of research and pedagogy at the University of Virginia School of Architecture, engaged in the conditions of
the built environment, relative to 3 states of Flux, Stasis and Crisis.
The questions we ask are: What is the impact of design on the forces that shape our contemporary reality? To what extent do contingencies of time and place impact our practice, and in return how effective is our response in re-shaping the same contingencies?
Contributions: Ghazal Abbasy-Asbagh, Inaki Alday, Robin Dripps, Rebecca Hora, Ryan Metcalf, Matthew Pinyan
Published with University of Virginia School of Architecture

The philosophy of Maurice Merleau-Ponty (1908-1961) has influenced the design work of architects as diverse as Steven Holl and Peter Zumthor, as well as informing renowned schools of architectural theory, notably those around Dalibor Vesely at Cambridge, Kenneth Frampton, David Leatherbarrow and Alberto Perez-Gomez in North America and Juhani Pallasmaa in Finland. Merleau-Ponty suggested that the value of people's experience of the world gained through their immediate bodily engagement with it remains greater than the value of understanding gleaned through abstract mathematical, scientific or technological systems. This book summarizes what Merleau-Ponty's philosophy has to offer specifically for architects. It locates architectural thinking in the context of his work, placing it in relation to themes such as space, movement, materiality and creativity, introduces key texts, helps decode difficult terms and provides quick reference for further reading.

Where We Learn investigates how learning spaces are evolving to be made more engaging, flexible and all-around better suited to today's challenges and opportunities. When educational spaces are designed not only to suit, but to harness the power of new learning models, they have a catalytic potential to improve the way knowledge is shared and retained. Once static, spaces where learning takes place have expanded far beyond the walls of the classroom to spill into more flexible and interactive settings. Where We Learn will offer some of the most novel insights into the design and performance of new environments that are better adapted to contemporary pedagogical practices. This book will shed light on over 50 projects worldwide, ranging from kindergartens, schools and universities to libraries, study cafes and museums. Geared towards readers interested in understanding the broader impact of design on the human experience, Where We Learn will highlight imaginative projects while remaining grounded in practical contexts and real-world settings.

Drawing Parallels expands your understanding of the workings of architects by looking at their work from an alternative perspective. The book focuses on parallel projections such as axonometric, isometric, and oblique drawings. Ray Lucas argues that by retracing the marks made by architects, we can begin to engage more directly with their practice as it is only by redrawing the work that hidden aspects are revealed. The practice of drawing offers significantly different insights, not easily accessible through discourse analysis, critical theory, or observation. Using James Stirling, JJP Oud, Peter Eisenman, John Hejduk, and Cedric Price as case studies, Lucas highlights each architect's creative practices which he anaylses with reference to Bergson's concepts of temporality and cretivity, discussing ther manner in which creative problems are explored and solved. The book also draws on a range of anthropological ideas including skilled practice and enchantment in order to explore why axonometrics are important to architecture and questions the degree to which the drawing convention influences the forms produced by architects. With 60 black-and-white images to illustrate design development, this book would be an essential read for academics and students of architecture with a particular interest in further understanding the inner workings of the architectural creative process.

At a time when the technologies and techniques of producing the built environment are undergoing significant change, this book makes central architecture's relationship to industry. Contributors turn to historical and theoretical questions, as well as to key contemporary developments, taking a humanities approach to the Industries of Architecture that will be of interest to practitioners and industry professionals, as much as to academic researchers, teachers and students. How has modern architecture responded to mass production? How do we understand the necessarily social nature of production in the architectural office and on the building site? And how is architecture entwined within wider fields of production and reproduction-finance capital, the spaces of regulation, and management techniques? What are the particular effects of techniques and technologies (and above all their inter-relations) on those who labour in architecture, the buildings they produce, and the discursive frameworks we mobilise to understand them?

Illustrated evidence-based building and open space case studies demonstrate E-B s continuing design impact. Fundamental theory and practical research methods are presented for planning, programming, designing, and evaluating the effects of physical environments in use. Part I describes how designers and researchers employ a similar creative process that promotes collaboration and yields greater design creativity and research effectiveness. Part II focuses on research methods to understand how buildings and spaces work: observing behavior and the physical environment, asking questions in interviews and surveys, and employing archival records that include data and physical plans."

In 1811, architect Benjamin Henry Latrobe spurred American builders into action when he called for them to reject "the corrupt Age of Dioclesian, or the still more absurd and debased taste of Louis the XIV," and to emulate instead the ancient temples of Greece. In response, people in the antebellum trans-Appalachian region embraced the clean lines, intricate details, and stately symmetry of the Grecian style. On newly built public buildings, private homes, and religious structures, references to classical Greek architecture became the preferred ornamentation. Several antebellum cities and towns adopted the moniker of "Athens," styling themselves as centers of culture, education, and sophistication. As the trend grew, American citizens understood the name as a link between the Grecian style and the founding principles of democracy - signaling a change of taste in service to the larger American cultural ideal. In Athens on the Frontier, Patrick Lee Lucas examines the material culture of Grecian-style buildings in antebellum America to help recover nineteenth-century regional identities. As communities worked to define their built landscape and develop a shared Western identity, Lucas's study invites readers to question many of the assumptions Americans have made about divisions and cultural formation in antebellum society.

As climate, culture, and technology evolve and become increasingly unpredictable, architecture's stasis becomes more incongruous. Werewolf explores an emerging but under-investigated branch of architecture that embraces the transformation of form, performance, and the responsiveness to environments and context. These ideas are studied through architectural precedents and framed by critical essays by Jesse Reiser, Greg Lynn, Jimenez Lai, Spyros Papapetros, Kari Weil, as well as the editors. The shift from passive buildings to reactive structures is now imperative, as climate change and political turmoil exacerbate the unpredictability of environments. Werewolf expands on the architect's agency to critically address political, social, and environmental unrest. Revealing the cunning and agile ways in which architecture can negotiate rather than resist change, this book departs from the fixed Vitruvian man and uses the figure of the werewolf to propose a model where changes of state, mutation, and decomposition are conceptually fundamental.

Today, artists are engaged in investigation. They probe corruption, state violence, environmental destruction and repressive technologies. At the same time, fields not usually associated with aesthetics make powerful use of it. Journalists and legal professionals pore over open source videos and satellite imagery to undertake visual investigations. This combination of diverse fields is what the authors call "investigative aesthetics": mobilising sensibilities often associated with art, architecture and other such practices to find new ways of speaking truth to power. This book draws on theories of knowledge, ecology and technology, evaluates the methods of citizen counter-forensics, micro-history and art, and examines radical practices such as those of Wikileaks, Bellingcat, and Forensic Architecture. Investigative Aesthetics takes place in the studio and the laboratory, the courtroom and the gallery, online and in the streets, as it strives towards the construction of a new 'common sensing'. The book is an inspiring introduction to a new field that brings together investigation and aesthetics to change how we understand and confront power today. To Nour Abuzaid for your brilliance, perseverance, and unshaken belief in the liberation of Palestine.

This collection of previously unpublished essays from a diverse range of well-known scholars and architects builds on the architectural tradition of phenomenological hermeneutics as developed by Dalibor Veseley and Joseph Rykwert and carried on by David Leatherbarrow, Peter Carl and Alberto Perez-Gomez. Taking an interdisciplinary approach and drawing on ideas from beyond the architectural canon, contributors including Kenneth Frampton, David Leatherbarrow, Juhani Pallasmaa, Karsten Harries, Steven Holl, Indra Kagis McEwen, Paul Emmons, and Louise Pelletier offer new insights and perspectives on questions such as the following: Given the recent fascination with all things digital and novel, what is the role of history and theory in contemporary architectural praxis? Is authentic meaning possible in a technological environment that is so global and interconnected? What is the nature and role of the architect in our shared modern world? How can these questions inform a new model of architectural praxis? Architecture's Appeal is a thought-provoking book which will inspire further scholarly inquiry and act as a basis for discussion in the wider field as well as graduate seminars in architectural theory and history.