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.

Precision is necessary in the field of architecture, and new technologies have increased demands for accuracy, particularly when the smallest errors can have outsized consequences. However, the importance of precision, or exactitude, has not received the consideration it merits. While themes of sustainability, performance, and formal innovation have been at the forefront of architectural scholarship for the past twenty years, this book moves beyond these concerns to explore the theoretical and practical demands exactitude makes on architecture as a field.The eleven essays collected here investigate the possibilities and shortcomings of exactitude and delve into current debates about the state of contemporary architecture as both a technological craft and artistic creation. Featuring new work by leading theorists, historians, editors, architects, and scholars, this volume brings theory and practice into insightful and productive conversations. In addition to the editors, contributors include Mark Wigley, Alejandro Zaera-Polo, Eric Hoeweler, Christopher Benfey, Sunil Bald, Ada Tolla and Giuseppe Lignano with Thomas de Monchaux, Alicia Imperiale, Francesca Hughes, Teresa Stoppani, and Cynthia Davidson.

Not Interesting proposes another set of terms and structures to talk about architecture, without requiring that it be interesting. This book explores a set of alternatives to the interesting and imagines how architecture might be positioned more broadly in the world using these other terms. The alternatives presented here are labelled as boring, confusing, and comforting. Along with interesting, these three terms make up the four chapters of the book. Each chapter introduces its topic through an analysis of a different image, which serves to unpack the specific character of each term and its relationship to architecture. In addition to text, the book contains over 50 case studies using 100 drawings and images. These are presented in parallel to the text and show what architecture may look like through the lens of these other terms.

This book examines the skyline as a space for radical urban politics. Focusing on the relationship between aesthetics and politics in London's tall-building boom, it develops a critique of the construction of more and more speculative towers as well as a critique of the claim that these buildings ruin the historic cityscape. Gassner argues that the new London skyline needs to be ruined instead and explores ruination as a political appropriation of the commodified and financialised cityscape. Aimed at academics and students in the fields of architecture, urban design, politics, urban geography, and sociology, Ruined Skylines engages with the work of Walter Benjamin and other critical and political theorists. It examines accounts of sometimes rebellious and often conservative groupings, including the City Beautiful movement, the English Townscape movement, and the Royal Fine Art Commission, and discusses tower developments in the City of London - 110 Bishopsgate, the Pinnacle, 22 Bishopsgate, 1 Undershaft, 122 Leadenhall, and 20 Fenchurch - in order to make a case for reanimating urban politics as an art of the possible.

Architectural relics of nineteenth and twentieth-century colonialism dot cityscapes throughout our globalizing world, just as built traces of colonialism remain embedded within the urban fabric of many European capitals. Neocolonialism and Built Heritage addresses the sustained presence and influence of historic built environments and processes inherited from colonialism within the contemporary lives of cities in Africa, Asia, and Europe. Novel in their focused consideration of ways in which these built environments reinforce neocolonialist connections among former colonies and colonizers, states and international organizations, the volume's case studies engage highly relevant issues such as historic preservation, heritage management, tourism, toponymy, and cultural imperialism. Interrogating the life of the past in the present, authors thus challenge readers to consider the roles played by a diversity of historic built environments in the ongoing asymmetrical balance of power and unequal distribution capital around the globe. They present buildings' maintenance, management, reuse, and (re)interpretation, and in so doing they raise important questions, the ramifications of which transcend the specifics of the individual sites and architectural histories they present.

Digital Monuments radically explodes "iconic architecture" of the new millennium and its hijacking of the public imagination via the digital image. Hallucinatory constructions such as Rem Koolhaas's CCTV headquarters in Beijing, Frank Gehry's Guggenheim Museum in Bilbao and Zaha Hadid's Performing Arts Centre in Abu Dhabi are all introduced to the world by immortal digital imagery that floods the internet-yet comes to haunt the actualised buildings. Like holograms, these "digital monuments," which violently push physics and engineering to their limits, flicker eerily between the real and the unreal-invoking fantasies of omnipotence, immortality and utopian cities. But this experience of iconic architecture as a digital dream on the ground conceals from the urban spectator the social reality of the buildings and the rigidity of their ideology. In 18 micro-essays, Digital Monuments exposes the stereotypes of iconic architecture while depicting the savagery of the industry, from the Greek and Spanish crises triggered by financialised iconic development to mass labour-deaths on construction sites in the UAE.

In this ground-breaking book, the first to provide an overview of the theory and practice of experimental architecture, Rachel Armstrong explores how interdisciplinary, design-led research practices are beginning to redefine the possibilities of architecture as a profession. Drawing on experts from disciplines as varied as information technology, mathematics, poetry, graphic design, scenography, bacteriology, marine applied science and robotics, Professor Armstrong delineates original, cutting-edge architectural experiments through essays, quotes, poetry, equations and stories. Written by an acknowledged pioneer of architectural experiment, this visionary book is ideal for students and researchers wishing to engage in experimental, practice-based architectural and artistic research. It introduces radical new ideas about architecture and provides ideas and inspiration which students and researchers can apply in their own work and proposals, while practitioners can draw on it to transform their creative assumptions and develop thereby a distinctive "edge" to stand out in a highly competitive profession.

This book offers a detailed insight into the desire for, and consequences of, precise communications in the daily life of contemporary architectural practice through close readings of constructed architectural details by Sigurd Lewerentz, Caruso St John Architects, Mies van der Rohe and OMA. In the professionalised context of the contemporary architectural profession, precise communications - drawings, specifications, letters, faxes and emails - are charged with the complex task of translating architectural intent into a neutral and quantifiable language which is expected to guarantee an exact match between the architects' intentions and the constructed result. Yet, as any architectural practitioner will know, it is doubtful whether the construction of any architectural project may ever exactly match all written and drawn predictions. This book challenges claims to certainty which have been attributed to such communications from the mid-nineteenth century onwards, and critiques ongoing expectations of certainty in contemporary architectural production.

Architecture on the Borderline interrogates space and territory in a turbulent present where nation-state borders are porous to a few but impermeable to many. It asks how these uneven and conflicted social realities are embodied in the physical and material conditions imagined, produced or experienced through architecture and urbanism. Drawing on historical, global examples, this rich collection of essays illustrates how empires, nations and cities expand their frontiers and contest boundaries, but equally how borderline identities of people and places influence or expose these processes. Empirical chapters covering Central Asia, the Asia Pacific region, the American continent, Europe and the Middle East offer multiple critical insights into the ways in which our spatial imagination is contingent on 'border-thinking'; on the ways of being and navigating frontiers, boundaries and margins, the three themes used to organise their content. The underlying premise of the book is that sensitisation to border conditions can alter our understanding of the static physical spaces that service political or cultural ideologies, and that the view from the periphery opens up new ways of understanding sovereignty. In exploring these various spaces and their transformative subjectivities, this book also reveals the unrelenting precarity of contesting and living on the margins, and related spaces and discourses that are neglected or suppressed.

Drawing Imagining Building focuses on the history of hand-drawing practices to capture some of the most crucial and overlooked parts of the process. Using 80 black and white images to illustrate the examples, it examines architectural drawing practices to elucidate the ways drawing advances the architect's imagination. Emmons considers drawing practices in the Renaissance and up to the first half of the twentieth century. Combining systematic analysis across time with historical explication presents the development of hand-drawing, while also grounding early modern practices in their historical milieu. Each of the illustrated chapters considers formative aspects of architectural drawing practice, such as upright elevations, flowing lines and occult lines, and drawing scales to identify their roots in an embodied approach to show how hand-drawing contributes to the architect's productive imagination. By documenting some of the ways of thinking through practices of architectural handdrawing, it describes how practices can enrich the ethical imagination of the architect. This book would be beneficial for academics, practitioners, and students of architecture, particularly those who are interested in the history and significance of hand-drawing and technical drawing.

Exploring the social and cultural hierarchies established in 18th-century France, this volume illustrates how the conceptual basis of the modern house and the physical layout of the modern city emerged from debates among theoretically innovative French architects of the 18th-century. Examining a broad range of topics from architecture and urbanism to gardening and funerary monuments, he shows how the work of these architects was informed by considerations of symbolic space. Richard Etlin asserts the 18th-century city was a place in which actual physical space was subjected to a complex mental layering of conceptual spaces. He focuses on the design theory of Boullee and Durand and charts their legacy through the architecture of Paul Philippe Cret, Frank Lloyd Wright, and Louis Kahn. He defines the distinctive features of neoclassicism and outlines the new grammar for classical architecture articulated by theorists and architects such as Laugier, Leroy, and Ledoux. After discussing the 18th-century "hotel", revolutionary space, and the transformation of the image of the cemetary, Etlin examines the space of absence as embodied in commemorative architecture from Boullee and Gilly to Cret, Wright, and Terragni. This book provides an accessible introduction to a century of architecture that transformed the classical forms of the Renaissance and Baroque periods into building types still familiar today.

In this manifesto, the author takes a leap of faith. It is a faith in Lost Causes. He asserts that today, architectonic reason has fallen into ruins. As soon as architecture leaves the limits set to it by architectonic reason, no other path is open to it but the path to aestheticism. This is the wrong path contemporary architecture has taken. In its reduction to a pure aesthetic object, architecture negatively affects the human sensorium. Capitalist consumer society creates desires by generating 'surplus-enjoyment' for capitalist profit and contemporary architecture has become an instrument in generating this 'surplus-enjoyment', with fatal consequences. This manifesto is thus both a critique and a work of theory. It is a siren, alarm, klaxon to the current status quo within architectural discourse and a timely response to the conditions of architecture today.

Riverscapes are the main arteries of the world's largest cities, and have, for millennia, been the lifeblood of the urban communities that have developed around them. These human settlements - given life through the space of the local waterscape - soon developed into ritualised spaces that sought to harness the dynamism of the watercourse and create the local architectural landscape. Theorised via a sophisticated understanding of history, space, culture, and ecology, this collection of wonderful and deliberately wide-ranging case studies, from Early Modern Italy to the contemporary Bengal Delta, investigates the culture of human interaction with rivers and the nature of urban topography. Riverine explores the ways in which architecture and urban planning have imbued cultural landscapes with ritual and structural meaning.

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.

Design thinking is a powerful process that facilitates understanding and framing of problems, enables creative solutions, and may provide fresh perspectives on our physical and social landscapes. Not just for architects or product developers, design thinking can be applied across many disciplines to solve real-world problems and reconcile dilemmas. It is a tool that may trigger inspiration and the imagination, and lead to innovative ideas that are responsive to the needs and issues of stakeholders. Design Thinking: A Guide to Creative Problem Solving for Everyone will assist in addressing a full spectrum of challenges from the most vexing to the everyday. It renders accessible the creative problem-solving abilities that we all possess by providing a dynamic framework and practical tools for thinking imaginatively and critically. Every aspect of design thinking is explained and analyzed together with insights on navigating through the process. Application of design thinking to help solve myriad problems that are not typically associated with design is illuminated through vignettes drawn from such diverse realms as politics and society, business, health and science, law, and writing. A combination of theory and application makes this volume immediately useful and personally relevant.

Mid-20th century sacred architecture in America sought to bridge modernism with religion by abstracting cultural and faith traditions and pushing the envelope in the design of houses of worship. Modern architects embraced the challenges of creating sacred spaces that incorporated liturgical changes, evolving congregations, modern architecture, and innovations in building technology. The book describes the unique context and design aspects of the departure from historicism, and the renewal of heritage and traditions with ground-breaking structural features, deliberate optical effects and modern aesthetics. The contributions, from a pre-eminent group of scholars and practitioners from the US, Australia, and Europe are based on original archival research, historical documents, and field visits to the buildings discussed. Investigating how the authority of the divine was communicated through new forms of architectural design, these examinations map the materiality of liturgical change and communal worship during the mid-20th century.

Provides clear distinctions between the subjective and objective dimensions of architecture and the arts Arguments are reinforced by the analysis of seminal architectural examples Bullet points at the end of each chapter summarise the arguments and provide further guidance to the reader

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.

In the nineteenth century, new cemeteries were built in many Italian cities that were unique in scale and grandeur, and which became destinations on the Grand Tour. From the Middle Ages, the dead had been buried in churches and urban graveyards but, in the 1740s, a radical reform across Europe prohibited burial inside cities and led to the creation of suburban burial grounds. Italy's nineteenth-century cemeteries were distinctive as monumental or architectural structures, rather than landscaped gardens. They represented a new building type that emerged in response to momentous changes in Italian politics, tied to the fight for independence and the creation of the nation-state. As the first survey of Italy's monumental cemeteries, the book explores the relationship between architecture and politics, or how architecture is formed by political forces. As cities of the dead, cemeteries mirrored the spaces of the living. Against the backdrop of Italy's unification, they conveyed the power of the new nation, efforts to construct an Italian identity, and conflicts between Church and state. Monumental cemeteries helped to foster the narratives and mentalities that shaped Italy as a new nation.

Critical Architecture and Contemporary Culture will be the third volume in the series we have undertaken in collaboration with the University of California Humanities Research Institute. Like the symposium on which it is based, the book brings together prominent literary theorists and architects to offer a variety of perspectives on the relation between post-modernism and architecture. The contributors include such luminaries from the forefront of literary studies as J Hillis Miller, Jacques Derrida and Jean-Francois Lyotard; the architects Peter Eisenman and Robert Stern are also called upon to offer their interpretations of "deconstructive architecture." The high calibre of the discourse and the variety of approaches included is liable to draw a scholarly audience from a wide range of disciplines.

In our current global networked culture that puts so much emphasis on the virtual and the visual, the mind and the body have become detached and ultimately disconnected. Though physical appearance is idolised for its sexual appeal and its social identity, the role of the body in developing a full understanding of the physical world and the human condition has become neglected. The potential of the human body as a knowing entity - with all our senses as well as our entire bodily functions being structured to produce and maintain silent knowledge together - fails to be recognised.

It is only through the unity of mind and body that craftsmanship and artistic work can be fully realised. Even those endeavours that are generally regarded as solely intellectual, such as writing and thinking, depend on this union of mental and manual skills.

In "The Thinking Hand," Juhani Pallasmaa reveals the miraculous potential of the human hand. He shows how the pencil in the hand of the artist or architect becomes the bridge between the imagining mind and the emerging image. The book surveys the multiple essences of the hand, its biological evolution and its role in the shaping of culture, highlighting how the hand-tool union and eye-hand-mind fusion are essential for dexterity and how ultimately the body and the senses play a crucial role in memory and creative work. Pallasmaa here continues the exploration begun in his classic work "The Eyes of the Skin" by further investigating the interplay of emotion and imagination, intelligence and making, theory and life, once again redefining the task of art and architecture through well-grounded human truths.

The long-established dialogue between architecture and film offers an interdisciplinary platform for a critical examination of spaces of in-between. Apart from architecture informing scenography and cities serving as backdrops to the moving image, films have actively participated in shaping the public opinion about architecture and its allied disciplines. While architecture and design may not necessarily be central themes in a film, their spatial contextualization of the narrative informs cinematic productions. Screen, Space, and the In-Between looks at both the filmic imagination/representation of architectural in-betweenness, as well as the in-between spaces within the inherent architectural structure of filmic expression. On the one hand, cinematic production serves as a site to project utopian fantasies of the built environment, and on the other hand, the processes, tools, and methods involved in both architecture and film, function as mediators between abstract ideation and its materialized manifestation. The book interrogates the filmic creation of spatial imaginaries through the anthropological lens, especially as the disciplines in the built environment react to the liminal spaces of the cinematic. It adopts cinematic experiences of the built environment as a vantage point to reframe ongoing theoretical debates about liminal spaces. Foreword by Mark Foster Gage Contributors: Giuliana Bruno, Beatriz Colomina, James F. Kerestes, Graham Harman, Ferda Kolatan, Juhani Pallasmaa, Eva Perez De Vega, Mehmet Sahinler, Patrik Schumacher, Maria Sieira, Alican Taylan, Vahid Vahdat, Jason Vigneri-Beane, Jon Yoder, Michael Young

A scientific approach to architectural and architectonic research from the scope of just one discipline is no longer sufficient. With contemporary considerations such as behavior, health, and environmental protection, architects and students alike need holistic research methodologies that incorporate qualitative elements as well as more traditional quantitative ones. Research Methods and Techniques in Architecture examines research methodologies and tools applied in science and architectonic practice. Beginning with a thorough introduction to the main scientific, environmental, and architectural theories of the late twentieth century, the book guides the reader through the different aspects of architectural research design, building research teams, choosing applicable research methods, and representing research results.

Louis I. Kahn was one of the most influential architects, thinkers and teachers of his time. This book examines the important relationship between his work and the city of Rome, whose ancient ruins inspired in him a new design methodology. Structured into two main parts, the first includes personal essays and contributions from the architect's children, writers and other designers on the experience and impact of his work. The second part takes a detailed look at Kahn's residency in Rome, its effects on his thinking, and how his influence spread throughout Italy. It analyses themes directly linked to his architecture, through interviews with teachers and designers such as Franco Purini, Paolo Portoghesi, Giorgio Ciucci, Lucio Valerio Barbera and the architects of the Rome Group of Architects and City Planners (GRAU). Rome and the Legacy of Louis I. Kahn expands the current discourse on this celebrated twentieth-century architect, ideal for students and researchers interested in Kahn's work, architectural history, theory and criticism.

Sport and architecture are two elements of contemporary life that have a broad and profound impact on the world around us. The role architecture plays in shaping buildings and societies has occupied historians for centuries. Likewise, the cultural, economic, and political importance of sport is the subject of sustained academic inquiry. When sport and architecture converge, as in the 2012 London Olympics or the 2014 World Cup in Brazil, then the impact of these two forms of social activity is redoubled. This book presents a new and dynamic study of the complex relationship between sport and architecture. It explores the history of sport architecture and examines the buildings and events that create sites where sport and architecture converge in particularly telling ways. Its chapters discuss the following topics: sport architecture and urban redevelopment sport architecture and technology sport architecture and nationalism sport architecture as social activism sport architecture and global capitalism. By considering the importance of architectural form alongside these key themes, this book represents a landmark study for anybody interested in the social and cultural significance of architecture or sport.