One of the greatest and most in uential architects of Japan's postwar generation, Shinohara Kazuo (1925-2006) has remained virtually unknown outside the small community of devoted followers. As one of the leaders of architectural movement Metabolism, Shinohara achieved cult- gure stature with sublimely beautiful, purist houses that break away from Japan's postwar suburban architecture.Perhaps the most iconic of Shinohara's works, House of White (1964-66), rearranges a familiar design palette-a square plan, a pointed roof, white walls, and a symbolic heart pillar-to give the almost oceanic spaciousness through abstraction. The underlying formalism in Shinohara's architecture-its basic explorations of geometry and color-lends his work a poetic quality that fuses simplicity and surprise, the ordered and the unexpected.This volume brings together new scholarship from the foremost specialists on Shinohara and Japan's modern architecture. New perspectives and historical frameworks range from the develop- ment of the small house as a building type in postwar Japan to Shinohara's engagement with French critical theory. Hitherto unpublished archival drawings and personal travel photographsby Shinohara complement the essays.

Paul Virilio is an innovative figure in the study of architecture, space, and the city. Virilio for Architects primes readers for their first encounter with his crucial texts on some of the vital theoretical debates of the twenty-first century, including: Oblique Architecture and Bunker Archeology Critical Space and the Overexposed City The Ultracity and Very High Buildings Grey Ecology and Global Hypermovement In exploring Virilio's most important architectural ideas and their impact, John Armitage traces his engagement with other key architectural and scientific thinkers such as Claude Parent, Benoit B. Mandelbrot, and Bernard Tschumi. Virilio for Architects allows students, researchers, and non-academic readers to connect with Virilio's distinctive architectural theories, critical studies, and fresh ideas.

This book is a comparative study which aims to answer the question: under what circumstances does the EU undertake military operations? Since 2003, the EU has carried out six military operations. What accounts for this historic development? The EU and Military Operations examines the dynamics behind the EUs collective use of force and situates the EU in the context of a global division of labour with regard to military crisis management. It centres on the study of two main cases of EU military operations: the non-case when an operation was planned in the Lebanon war 2006 but did not occur, and the positive case of EUFOR RD Congo that same year. Drawing upon these findings, the author creates an innovative analytical framework based upon the techniques of defence planning, and applies this to the cases studies with the purpose of identifying the main driving and inhibiting factors behind the operations. Key findings derived from this analysis include the growing importance of local actors in facilitating or impeding the EUs deployment of military force and the enhanced role of regional organisations as security providers. The book will be of much interest to students of European security, EU politics, strategic studies, humanitarian intervention, security studies and IR in general.

Exploring the ambiguities of how we define the word culture in our global society, this book identifies its imprint on architectural ideas. It examines the historical role of the cultural in architectural production and expression, looking at meaning and communication, tracing the formations of cultural identities.

Chapters written by international academics in history, theory and philosophy of architecture, examine how different modes of representation throughout history have drawn profound meanings from cultural practices and beliefs. These are as diverse as the designs they inspire and include religious, mythic, poetic, political, and philosophical references.

With contributions from some of the world s most advanced thinkers on this subject, this book is essential reading for anyone looking at new ways of thinking about the digital within architecture. It speculates upon implications of Persistent Modelling for architectural practice, reconsidering the relationship between architectural representation and architectural artefact particularly in the fields of responsive and adaptive architectures.

Only a small proportion of the population fully relies on barrier freedom, but many people consider it an essential aid in everyday situations. It is therefore important to create a built environment without obstacles in which all people can move and orientate themselves as safely as possible and without help. For this reason, the needs and requirements of people with disabilities - but also of children - are important considerations in the design of buildings, in particular public and residential buildings. Basics Barrier-free Planning illustrates these special requirements as well as options for the design of barrier-free spaces and buildings. In line with all volumes in the series, everything is explained straightforwardly, including practical examples.

Elemental Architecture presents a new and refreshing approach to sustainable architectural practice. Going beyond the standard performance-based and quantitative sustainable measures, it incorporates a broader framework of considerations, including the more poetic and noetic possibilities of environmental design. The book is structured around the ancient Greek and medieval alchemists' system of the Five Temperaments: fire, earth, air, water, and ether. Phillip James Tabb examines how these elements produce both positive and negative environmental forces which have an impact on architectural design - from drinking water and fresh air to torrential floods and tornados. He shows how responding to or enhancing these forces can help us to create a more sustainable, healthy, and purposeful architecture. To illustrate this, each chapter draws on seminal contemporary works of architecture, from Peter Zumthor's Bruder-Klaus Field Chapel to Frank Lloyd Wright's masterpiece at Fallingwater. These examples are accompanied by over a hundred high-quality illustrations. Expanding the discussion of sustainability to include phenomenological as well as qualitative considerations, Elemental Architecture is ideal for students and researchers with an interest in sustainable architecture and architectural theory.

Ethics is one of the most important and least understood aspects of design practice. In his latest book, Thomas Fisher shows how ethics are inherent to the making of architecture - and how architecture offers an unusual and useful way of looking at ethics. The Architecture of Ethics helps students in architecture and other design disciplines to understand the major approaches to ethics and to apply them to the daily challenges they face in their work. The book covers each of the four dominant approaches to ethics: virtue ethics, social contract ethics, duty ethics, and utilitarian ethics. Each chapter examines the dilemmas designers face from the perspective of one of these categories. Written in an accessible, jargon-free style, the text also features 100 illustrations to help integrate these concepts into the design process and to support visual understanding. Ethics is now a required part of accredited architecture programs, making this book essential reading for all students in architecture and design.

Confabulation is a drawing together through storytelling. Fundamental to our perception, memory, and thought is the way we join fractured experiences to construct a narrative. Confabulations: Storytelling in Architecture weaves together poetic ideas, objects, and events and returns you to everyday experiences of life through juxtapositions with dreams, fantasies, and hypotheticals. It follows the intellectual and creative framework of architectural cosmopoesis developed and practiced by the distinguished thinker, architect, and professor Dr. Marco Frascari, who thought deeply about the role of storytelling in architecture. Bringing together a collection of 24 essays from a diverse and respected group of scholars, this book presents the convergence of architecture and storytelling across a broad temporal, geographic, and cultural range. Beginning with an introduction framing the topic, the book is organized along a continuous thread structured around four key areas: architecture of stories, stories of architecture, stories of theory and practice of stories. Beautifully illustrated throughout and including a 64-page full colour section, Confabulations is an insightful investigation into architectural narratives.

The notion of data is increasingly encountered in spatial, creative and cultural studies. Big data and artificial intelligence are significantly influencing a number of disciplines. Processes, methods and vocabularies from sciences, architecture, arts are borrowed, discussed and tweaked, and new cross-disciplinary fields emerge. More and more, artists and designers are drawing on hard data to interpret the world and to create meaningful, sensuous environments. Architects are using neurophysiological data to improve their understanding of people's experiences in built spaces. Different disciplines collaborate with scientists to visualise data in different and creative ways, revealing new connections, interpretations and readings. This often demonstrates a genuine desire to comprehend human behaviour and experience and to - possibly - inform design processes accordingly. At the same time, this opens up questions as to why this desire and curiosity is emerging now, how it relates to recent technological advances and how it converses with the cultural, philosophical and methodological context of the disciplines with which it engages. Questions are also raised as to how the use of data and data-informed methods may serve, support, promote and/or challenge political agendas. Data, Architecture and the Experience of Place provides an overview of new approaches on this significant subject and is ideal for students and researchers in digital architecture, architectural theory, design, digital media, sensory studies and related fields.

Elemental Architecture presents a new and refreshing approach to sustainable architectural practice. Going beyond the standard performance-based and quantitative sustainable measures, it incorporates a broader framework of considerations, including the more poetic and noetic possibilities of environmental design. The book is structured around the ancient Greek and medieval alchemists' system of the Five Temperaments: fire, earth, air, water, and ether. Phillip James Tabb examines how these elements produce both positive and negative environmental forces which have an impact on architectural design - from drinking water and fresh air to torrential floods and tornados. He shows how responding to or enhancing these forces can help us to create a more sustainable, healthy, and purposeful architecture. To illustrate this, each chapter draws on seminal contemporary works of architecture, from Peter Zumthor's Bruder-Klaus Field Chapel to Frank Lloyd Wright's masterpiece at Fallingwater. These examples are accompanied by over a hundred high-quality illustrations. Expanding the discussion of sustainability to include phenomenological as well as qualitative considerations, Elemental Architecture is ideal for students and researchers with an interest in sustainable architecture and architectural theory.

Historically the urban festival served as an occasion for affirming shared convictions and identities in the life of the city. Whether religious or civic in nature, these events provided tangible expressions of social, cultural, political, and religious cohesion, often reaffirming a particular shared ethos within diverse urban landscapes. Architecture has long served as a key aspect of this process exhibiting continuity in the flux of these representations through the parading of elaborate ceremonial floats, the construction of temporary buildings, the 'dressing' of existing urban space, the alternative occupations of the everyday, and the construction of new buildings and spaces which then become a part of the background fabric of the city. This book examines how festivals can be used as a lens to examine the relationship between city and citizen and questions whether this is fixed through time, or has been transformed as a response to changes in the modern urban condition. Architecture, Festival and the City looks at the multilayered nature of a diverse selection of festivals and the way they incorporate both orderly (authoritative) and disorderly (subversive) components. The aim is to reveal how the civic nature of urban space is utilised through festival to represent ideas of belonging and identity. Recent political and social gatherings also raise questions about the relationship of these events to 'ritual' and whether traditional practices can serve as meaningful references in the twenty-first century.

The aim of this book is to expose readers to architecture's pretexts that include literary narratives, film, theatre, painting, music, and ritual, as a bridge between diverse intellectual territories and architecture. It introduces a selection of seminal modern and contemporary architectural projects, their situation within the built environment, and their intellectual and formal situation/context as pretexts and design paradigms. Connections between diverse bodies of information will be cultivated along with the ability to posit consequential relationships for the production of architecture. Architecture's Pretexts seeks to cultivate a vision for architecture that sponsors operative links between the discipline of architecture and those outside of architecture. Exploring the works of various architects including Guiseppe Terragni, Peter Eisenman, Peter Zumthor, Perry Kulper and Smout Allen, and Rem Koolhaas, this book provides the framework to understanding architecture through the lens of art. Key concepts discussed are: allegories, diagrams, form, material, montage, movement, musical ratios, narrative sequence and representation. A valuable tool, with over 75 black and white illustrations, for students and professionals interested in interdisciplinary methods of design thinking.

The aim of this book is to expose readers to architecture's pretexts that include literary narratives, film, theatre, painting, music, and ritual, as a bridge between diverse intellectual territories and architecture. It introduces a selection of seminal modern and contemporary architectural projects, their situation within the built environment, and their intellectual and formal situation/context as pretexts and design paradigms. Connections between diverse bodies of information will be cultivated along with the ability to posit consequential relationships for the production of architecture. Architecture's Pretexts seeks to cultivate a vision for architecture that sponsors operative links between the discipline of architecture and those outside of architecture. Exploring the works of various architects including Guiseppe Terragni, Peter Eisenman, Peter Zumthor, Perry Kulper and Smout Allen, and Rem Koolhaas, this book provides the framework to understanding architecture through the lens of art. Key concepts discussed are: allegories, diagrams, form, material, montage, movement, musical ratios, narrative sequence and representation. A valuable tool, with over 75 black and white illustrations, for students and professionals interested in interdisciplinary methods of design thinking.

Although the work of Henri Lefebvre has become better known in the English speaking world since the 1991 English translation of his 1974 masterpiece, The Production of Space, his influence on the actual production of space, of architecture and the city, has been less pronounced. Even if he is now widely read in schools of architecture, planning and urban design, Lefebvre's message for practice remains elusive; inevitably so because the entry of his work into the consciousness of the Anglosphere has come with repression of the two most challenging aspects of his thinking: romanticism and utopia, which simultaneously confront modernity while being progressive. Arguably, contemporary discomfort with romanticism and utopia obstructs movement of Lefebvre's thinking from being an object of theoretical interest to actually influencing practice. Utopia is the lynchpin of Lefebvre's enterprise. Understanding and acting upon architecture and the city with Lefebvre but without utopia impoverishes his theoretical construct. His ideas on practice and the methods he elaborated are fundamentally utopian.Although utopia may seem to have no place in the present, Lefebvre reveals this as little more than a self-serving affirmation that 'there is no alternative' to social and political detachment. Demanding the impossible may end in failure but doing so is the first step towards other possibilities. To think about Lefebvre is to think about utopia, and thinking about utopia when thinking with Lefebvre is to make contact with what is most enduring about his project for the city and its inhabitants, and with what is most radical about it as well. Lefebvre for Architects offers a concise account of the relevance of Henri Lefebvre's writing for the theory and practice of architecture, planning and urban design. This book is accessible for students and practitioners who wish to fully engage with the design possibilities offered by Lefebvre's philosophy.

The Socialist Life of Modern Architecture is the first systematic architectural history of Romania under socialism written in English. It examines the mechanisms through which modern architecture was invested with political meaning and, in reverse, how specific architectural solutions came to define the socialist experience. Each of the book's three parts traces the historical development of one key aspect of Romania's architectural culture between the years 1949-1964: the planning and construction of housing districts in Bucharest; the role of typification of design and standardization of construction in a project of cultural transformation; the production and management of a folk architectural tradition. Going beyond buildings and architects to consider the use of photography, painting, and novels, as well as narrations of history and the formation of an ethnographic architectural heritage, the author explores how buildings came to participate in the cultural imagination of socialism-and became, in fact, a privileged medium of socialism. Part of the growing interest in the significance of Soviet Bloc architecture, this is an important contribution to the fields of architectural history, cultural history, and visual culture.

The notion of data is increasingly encountered in spatial, creative and cultural studies. Big data and artificial intelligence are significantly influencing a number of disciplines. Processes, methods and vocabularies from sciences, architecture, arts are borrowed, discussed and tweaked, and new cross-disciplinary fields emerge. More and more, artists and designers are drawing on hard data to interpret the world and to create meaningful, sensuous environments. Architects are using neurophysiological data to improve their understanding of people's experiences in built spaces. Different disciplines collaborate with scientists to visualise data in different and creative ways, revealing new connections, interpretations and readings. This often demonstrates a genuine desire to comprehend human behaviour and experience and to - possibly - inform design processes accordingly. At the same time, this opens up questions as to why this desire and curiosity is emerging now, how it relates to recent technological advances and how it converses with the cultural, philosophical and methodological context of the disciplines with which it engages. Questions are also raised as to how the use of data and data-informed methods may serve, support, promote and/or challenge political agendas. Data, Architecture and the Experience of Place provides an overview of new approaches on this significant subject and is ideal for students and researchers in digital architecture, architectural theory, design, digital media, sensory studies and related fields.

We are taught to believe in originals. In art and architecture in particular, original objects vouch for authenticity, value, and truth, and require our protection and preservation. The nineteenth century, however, saw this issue differently. In a culture of reproduction, plaster casts of building fragments and architectural features were sold throughout Europe and America and proudly displayed in leading museums. The first comprehensive history of these full-scale replicas, Plaster Monuments examines how they were produced, marketed, sold, and displayed, and how their significance can be understood today. Plaster Monuments unsettles conventional thinking about copies and originals. As Mari Lending shows, the casts were used to restore wholeness to buildings that in reality lay in ruin, or to isolate specific features of monuments to illustrate what was typical of a particular building, style, or era. Arranged in galleries and published in exhibition catalogues, these often enormous objects were staged to suggest the sweep of history, synthesizing structures from vastly different regions and time periods into coherent narratives. While architectural plaster casts fell out of fashion after World War I, Lending brings the story into the twentieth century, showing how Paul Rudolph incorporated historical casts into the design for the Yale Art and Architecture building, completed in 1963. Drawing from a broad archive of models, exhibitions, catalogues, and writings from architects, explorers, archaeologists, curators, novelists, and artists, Plaster Monuments tells the fascinating story of a premodernist aesthetic and presents a new way of thinking about history's artifacts.

By analyzing ten examples of buildings that embody the human experience at an extraordinary level, this book clarifies the central importance of the role of function in architecture as a generative force in determining built form. Using familiar twentieth-century buildings as case studies, the authors present these from a new perspective, based on their functional design concepts. Here Grabow and Spreckelmeyer expand the definition of human use to that of an art form by re-evaluating these buildings from an aesthetic and ecological view of function. Each building is described from the point of view of a major functional concept or idea of human use which then spreads out and influences the spatial organization, built form and structure. In doing so each building is presented as an exemplar that reaches beyond the pragmatic concerns of a narrow program and demonstrates how functional concepts can inspire great design, evoke archetypal human experience and help us to understand how architecture embodies the deeper purposes and meanings of everyday life.

By analyzing ten examples of buildings that embody the human experience at an extraordinary level, this book clarifies the central importance of the role of function in architecture as a generative force in determining built form. Using familiar twentieth-century buildings as case studies, the authors present these from a new perspective, based on their functional design concepts. Here Grabow and Spreckelmeyer expand the definition of human use to that of an art form by re-evaluating these buildings from an aesthetic and ecological view of function. Each building is described from the point of view of a major functional concept or idea of human use which then spreads out and influences the spatial organization, built form and structure. In doing so each building is presented as an exemplar that reaches beyond the pragmatic concerns of a narrow program and demonstrates how functional concepts can inspire great design, evoke archetypal human experience and help us to understand how architecture embodies the deeper purposes and meanings of everyday life.

Essays centred on the methods, pleasures, and pitfalls of architectural interpretation. Architecture affects us on a number of levels. It can control our movements, change our experience of our own scale, create a particular sense of place, focus memory, and act as a statement of power and taste, to name but a few. Yet the ways in which these effects are brought about are not yet well understood. The aim of this book is to move the discussion forward, to encourage and broaden debate about the ways in which architecture is interpreted, with aview to raising levels of intellectual engagement with the issues in terms of the theory and practice of architectural history. The range of material covered extends from houses constructed from mammoth bones around 15,000 years ago in the present-day Ukraine to a surfer's memorial in Carpinteria, California; other subjects include the young Michelangelo seeking to transcend genre boundaries; medieval masons' tombs; and the mythographies of early modern Netherlandish towns. Taking as their point of departure the ways in which architecture has been, is, and can be written about and otherwise represented, the editors' substantial Introduction provides an historiographical framework for, and draws out the themes and ideas presented in, the individual contributors' essays. Contributors: Christine Stevenson, T. A. Heslop, John Mitchell, Malcolm Thurlby, Richard Fawcett, Jill A. Franklin, StephenHeywood, Roger Stalley, Veronica Sekules, John Onians, Frank Woodman, Paul Crossley, David Hemsoll, Kerry Downes, Richard Plant, Jenifer Ni Ghradraigh, Lindy Grant, Elisabeth de Bievre, Stefan Muthesius, Robert Hillenbrand, AndrewM. Shanken, Peter Guillery.

This Companion breaks new ground in our knowledge and understanding of the diverse relationships between literature, architecture, and the city, which together form a field of interdisciplinary research that is one of the most innovative and exciting to have emerged in recent years. Bringing together a wide variety of contributors, not only writers, architectural and literary scholars, and social scientists, but graphic novelists and artists, the book offers contemporary essays on everything from science fiction and the crime novel, to poetry, comics and oral history. It is structured into two sections: History, Narrative and Genre, and Strategy, Language and Form. Including over ninety illustrations, the book is a must read for academics and students.

The Death of Drawing explores the causes and effects of the epochal shift from drawing to computation as the chief design and communication medium in architecture. Drawing both framed the thinking of architects and organized the design and construction process to place architects at its center. Its displacement by building information modeling (BIM) and computational design recasts both the terms in which architects think and their role in building production. Author David Ross Scheer explains that, whereas drawing allowed architects to represent ideas in form, BIM and computational design simulate experience, making building behavior or performance the primary object of design. The author explores many ways in which this displacement is affecting architecture: the dominance of performance criteria in the evaluation of design decisions; the blurring of the separation of design and construction; the undermining of architects' authority over their projects by automated information sharing; the elimination of the human body as the common foundation of design and experience; the transformation of the meaning of geometry when it is performed by computers; the changing nature of design when it requires computation or is done by a digitally-enabled collaboration. Throughout the book, Scheer examines both the theoretical bases and the practical consequences of these changes. The Death of Drawing is a clear-eyed account of the reasons for and consequences of the displacement of drawing by computational media in architecture. Its aim is to give architects the ability to assess the impact of digital media on their own work and to see both the challenges and opportunities of this historic moment in the history of their discipline.

The Routledge Companion to Criticality in Art, Architecture, and Design presents an in-depth exploration of criticism and criticality in theory and practice across the disciplines of art, architecture, and design. Professional criticism is a vital part of understanding the cultural significance of designed objects and environments that we engage with on a daily basis, yet there is evidence to show that this practice is changing. This edited volume investigates how practitioners, researchers, educators, and professionals engage with, think about, and value the practice of critique. With contributions from a multi-disciplinary authorship from nine countries - the UK, USA, Australia, India, Netherlands, Switzerland, South Africa, Belgium, and Denmark - this companion provides a wide range of leading perspectives evaluating the landscape of criticality and how it is being shaped by technological and social advances. Illustrated with over 60 black and white images and structured into five sections, The Routledge Companion to Criticality in Art, Architecture, and Design is a comprehensive volume for researchers, educators, and students exploring the changing role of criticism through interdisciplinary perspectives.