Despite population trends toward urbanization, the forest continues to have a strong appeal to the human imagination, and the human preference for forest over many other types of terrain is well documented. This book re-imagines architecture and urbanism by allowing the forest to be a prominent consideration in the language of design, thus recognizing the forest as essential rather than just incidental to human well-being. In Architecture and the Forest Aesthetic, forest is a large-scale urban construct that is far more extensive and nuanced than trees and shrubbery. The forest aesthetic opens designers to the forest as a model for an urban architecture of permeable floors, protective canopies, connected food chains, beneficial decomposition, and resilient ecologies. Much can be learned about these features of the forest from the natural sciences; however, when they are given due consideration technically and metaphorically in the design of urban habitat, the places in which humans live become living forests. What is present here in Architecture and the Forest Aesthetic is both a review of many ingenious ways in which the forest aesthetic has already been expressed in design and urbanism, and an encouragement to further use the forest aesthetic in design language and design outcomes. Case study projects featured include the Chilotan building craft of Southern Chile, the yaki sugi of Japan, the Biltmore Forest in the Southeastern United States, the Australian capital city Canberra, Bosco Verticale in Milan, Italy, the Beijing Olympic Forest Park in China, and more.

Scholars and artists revisit a hugely influential essay by Rosalind Krauss and map the interactions between art and architecture over the last thirty-five years. Expansion, convergence, adjacency, projection, rapport, and intersection are a few of the terms used to redraw the boundaries between art and architecture during the last thirty-five years. If modernists invented the model of an ostensible "synthesis of the arts," their postmodern progeny promoted the semblance of pluralist fusion. In 1979, reacting against contemporary art's transformation of modernist medium-specificity into postmodernist medium multiplicity, the art historian Rosalind Krauss published an essay, "Sculpture in the Expanded Field," that laid out in a precise diagram the structural parameters of sculpture, architecture, and landscape art. Krauss tried to clarify what these art practices were, what they were not, and what they could become if logically combined. The essay soon assumed a canonical status and affected subsequent developments in all three fields. Retracing the Expanded Field revisits Krauss's hugely influential text and maps the ensuing interactions between art and architecture. Responding to Krauss and revisiting the milieu from which her text emerged, artists, architects, and art historians of different generations offer their perspectives on the legacy of "Sculpture in the Expanded Field." Krauss herself takes part in a roundtable discussion (moderated by Hal Foster). A selection of historical documents, including Krauss's essay, presented as it appeared in October, accompany the main text. Neither eulogy nor hagiography, Retracing the Expanded Field documents the groundbreaking nature of Krauss's authoritative text and reveals the complex interchanges between art and architecture that increasingly shape both fields. Contributors Stan Allen, George Baker, Yve-Alain Bois, Benjamin Buchloh, Beatriz Colomina, Penelope Curtis, Sam Durant, Edward Eigen, Kurt W. Forster, Hal Foster, Kenneth Frampton, Branden W. Joseph, Rosalind Krauss, Miwon Kwon, Sylvia Lavin, Sandro Marpillero, Josiah McElheny, Eve Meltzer, Michael Meredith, Mary Miss, Sarah Oppenheimer, Matthew Ritchie, Julia Robinson, Joe Scanlan, Emily Eliza Scott, Irene Small, Philip Ursprung, Anthony Vidler

This is the dumbest smart book on contemporary architecture. What really is this "technology" that we speak of? How do we define "intelligence?" These are just two of the questions that this book attempts to answer through the unconventional (and seemingly ironic) lens of "dumbness." Historical examples in science, art, and architecture ground "dumbness" as a means to convey a trajectory to practice "smarter." Instead of a singular authoritative vision, over 50 contributors answer the question, 'What is the dumbest, but smartest thing you've done?' These unique responses provide a vivid lens into the culture of contemporary architecture and the rigour behind it.

Architecture Beyond Experience is an interdisciplinary work in the service of one goal: the bringing about of a more relational, 'posthuman' and yet humanist strain in architecture. It argues against the values that currently guide much architectural production (and the larger economy's too), which is the making, marketing, and staging of ever more arresting experiences. The result, in architecture, is experientialism: the belief that what gives a building value, aside from fulfilling its shelter functions, is how its views and spaces make us personally feel as we move around it. This thought provoking essay argues it's time to find a deeper basis for making and judging architecture, a basis which is not personal-experience-multiplied, but which is dialogical and relational from the start. In this context, the word relationaldescribes an architecture that guides people in search of encounter with (or avoidance of) each other and that manifests and demonstrates those same desires in its own forms, components, and materials. Buildings are beings. When studying architecture, they teach as well as protect; they tell us who we were and who we want to be; they exemplify, they deserve respect, invite investment, and reward affection. These are social-relational values, values that both underlie and go beyond experiential ones (sometimes called 'phenomenological'). Such relational values have been suppressed, in part because architects have joined the Experience Economy, hardly noticing they have done so. Architecture Beyond Experience provides the argument and the concepts to ultimately re-centre a profession.

Innovative forms of visual representation in the long eighteenth century were made possible through the medium of print. In turn, they enabled the dissemination of knowledge about the ancient world and its relationship to the ever-refining set of cultural values applied to and associated with the past.

"Tracing" "Architecture" discusses the study of the ancient world - including Egyptian, Greek, Roman and British antiquities - through the medium of print as a Europe-wide phenomenon, where the visual language of the printed image transcended national boundaries. This book allows the reader to explore the relationship between the international currency of 'antiquity' and indigenous traditions of aesthetic philosophy and architectural design. The importance of this and the changing relationship between text and image is also considered, thereby raising questions about the relationship between the mass-produced image and the original, in an era before Walter Benjamin's age of mechanical reproduction.

"Tracing Architecture" is a fascinating study of the relationship between architecture, antiquity and aesthetics in a European context. It will be of interest to those studying and working in the fields of art history, architecture, classics and ancient history.

Architecture and the Novel under the Italian Fascist Regime discusses the relationship between the novel and architecture during the Fascist period in Italy (1922-1943). By looking at two profoundly diverse aesthetic phenomena within the context of the creation of a Fascist State art, Billiani and Pennacchietti argue that an effort of construction, or reconstruction, was the main driving force behind both projects: the advocated "revolution" of the novel form (realism) and that of architecture (rationalism). The book is divided into seven chapters, which in turn analyze the interconnections between the novel and architecture in theory and in practice. The first six chapters cover debates on State art, on the novel and on architecture, as well as their historical development and their unfolding in key journals of the period. The last chapter offers a detailed analysis of some important novels and buildings, which have in practice realized some of the key principles articulated in the theoretical disputes.

Modern buildings are both wasteful machines that can be made more efficient and instruments of the massive, metropolitan system engendered by the power of high-quality fuels. A comprehensive method of environmental design must reconcile the techniques of efficient building design with the radical urban and economic reorganization that we face. Over the coming century, we will be challenged to return to the renewable resource base of the eighteenth-century city with the knowledge, technologies, and expectations of the twenty-first-century metropolis. This book explores the architectural implications of systems ecology, which extends the principles of thermodynamics from the nineteenth-century focus on more efficient machinery to the contemporary concern with the resilient self-organization of ecosystems. Written with enough technical material to explain the methods, it does not include in-text equations or calculations, relying instead on the energy system diagrams to convey the argument. Architecture and Systems Ecology has minimal technical jargon and an emphasis on intelligible design conclusions, making it suitable for architecture students and professionals who are engaged with the fundamental issues faced by sustainable design. The energy systems language provides a holistic context for the many kinds of performance already evaluated in architecture-from energy use to material selection and even the choice of building style. It establishes the foundation for environmental principles of design that embrace the full complexity of our current situation. Architecture succeeds best when it helps shape, accommodate, and represent new ways of living together.

This book calls attention to the public space of cities. It proposes that the environmental performance of public space is underdeveloped and is primed to play a more integrated role in combatting the urgency of climate change, while also creating a more meaningful experience of the city. The approach is influenced by recent insights from neuroscience that are generating a growing body of evidence for the underlying bodily basis of mind and meaning imply a reformulation of urban design theory. Minding the City is an effort to refocus the subject of urban design on the tangible and visceral experience of public space, to remind urban designers that our concept of the city is grounded in bodily experience. It discusses emerging insights from neuroscience and their potential impact on urban design in detail, not as a formula for design, but to bring awareness, a new sensibility to the design process. It uses a set of case studies to illustrate how the insights from neuroscience are operative in how we experience and value the built environment. It finishes with an exploration of the sensory and aesthetic potential of sustainable systems and then illustrates, through a series of urban design studies, how they might be used to create better environmental performance while creating more meaningful, even poetic urban spaces.

While the first half of the 20th century in architecture was, to a large extent, characterized by innovations in aesthetics (accompanied by succinct and polemical manifestoes), the post-war decades saw emerge a more refined and intellectual disciplinary framework that eventually metamorphosed into the highly theory-focused moment of the 'postmodern'. Colin Frederick Rowe (1920 - 1999) was a leader of this epistemic shift due to his aptitude to connect his historical and philosophical erudition to the visual analysis of architecture. This book unites ten different perspectives from architects whose lives and ideas intersected with Rowe's, including: Robert Maxwell Anthony Vidler Peter Eisenman O. Mathias Ungers Leon Krier Rem Koolhaas Alan Colquhoun Robert Slutzky Bernhard Hoesli Bernard Tschumi With an introduction by Emmanuel Petit and a postscript by Jonah Rowen In their critical assessment of a key 20th century formalist, these renowned architects reflect on how their own positions came to diverge from Rowe's. Reckoning with Colin Rowe is a thought-provoking discussion of key schools, places, concepts and people of architectural theory since the post-war years, illustrated with over forty beautiful black and white drawings and photographs.

The Autumn 2011 (vol. 13 no. 3) issue of the Nexus Network Journal features nine papers guest edited by Jose Calvo-Lopez dedicated to the theme "From Mediaeval Stonecutting to Projective Geometry ". This is an outgrowth of the session by the same name which took place during the eighth international, interdisciplinary conference "Nexus 2010: Relationships between Architecture and Mathematics, held in Porto, Portugal, in June 2010. The topics discussed range from the theoretical mathematics to built examples both historical and contemporary. The issue is completed with other research papers, conference reports and book reviews.

This book offers the first comprehensive overview of alternative approaches to architectural practice.

At a time when many commentators are noting that alternative and richer approaches to architectural practice are required if the profession is to flourish, this book provides multiple examples from across the globe of how this has been achieved and how it might be achieved in the future.

Particularly pertinent in the current economic climate, this book offers the reader new approaches to architectural practice in a changing world. It makes essential reading for any architect, aspiring or practising.

At the peak of the 1968/69 students' riots at American Universities, Robert Venturi and Denise Scott Brown, together with Steven Izenour, pursued their Design and Research Studio on the topic of Las Vegas at Yale School of Architecture. The results of this were condensed into the book Learning from Las Vegas that became a classic almost instantly upon its first publication in 1972. The treatise excited the 1970s architecture world and has remained influential to architects, teachers and theoreticians to the present day. Some forty years later, Eyes that Saw: Architecture after Las Vegas offers a richly illustrated collection of essays by renowned scholars of art and architectural history, eminent architects, and artists, investigating Learning from Las Vegas and its heritage from various perspectives. Each chapter builds on the knowledge of the radical influence it had on architecture and urban design, visual art, and even on history more generally. Published alongside are documents from the Venturi, Scott Brown & Associates Archive at the University of Pennsylvania, as well as an illustrated chronology of the resonance in international media following the publication of Learning from Las Vegas in 1972.

The Institute of Architecture and Planning at University of Liechtenstein in Vaduz pursues highly innovative approaches in architectural education. A focus on practice and bringing students together with craftsmen and their businesses are a key part of this. Model Workshop documents one of these programs at the institute. Students are confronted with different aspects of construction at a scale of 1:1, ranging from experimental wood structures through assembly techniques to questions of manufacturing. Complementing theoretical groundwork, the students' design ideas are produced by timber construction firms as prototypes at a scale of 1:1, tested for functionality, and further developed. The book introduces this design work and direct transition into practice and analyses the learning process of building at full scale. It also offers guidance through texts and images for an in-depth engagement with these didactic methods in close cooperation with local trades businesses. Text in English and German.

Since founding the T.O.P. ("Turn On Planning") Office in the 1970s, Belgian architect and artist Luc Deleu (born 1944) has been working on a critical, sociological and ecological approach to urbanism that he has named "orbanism": an eco-centric global urbanism that has anticipated such contemporary concerns as environmental pollution, overpopulation, food production and the conflict between the individual and the community. "Orban Space" traces Deleu's work and practice through a conceptual topography defined by seven terms: architecture, syncretism, depiction, sculpture, scale, mobility and manifesto. This book presents a biographical portrait of Luc Deleu and T.O.P. Office and situates them within a broader historical and theoretical framework, where they emerge from the lineage defined by such idiosyncratic utopian visionaries as the Metabolists, Buckminster Fuller, Superstudio, Yona Friedman and Constant Nieuwenhuis.

In recent years we have seen a number of dramatic discoveries within the biological and related sciences. Traditional arguments such as "nature versus nurture" are rapidly disappearing because of the realization that just as we are affecting our environments, so too do these altered environments restructure our cognitive abilities and outlooks. If the biological and technological breakthroughs are promising benefits such as extended life expectancies, these same discoveries also have the potential to improve in significant ways the quality of our built environments. This poses a compelling challenge to conventional architectural theory... This is the first book to consider these new scientific and humanistic models in architectural terms. Constructed as a series of five essays around the themes of beauty, culture, emotion, the experience of architecture, and artistic play, this book draws upon a broad range of discussions taking place in philosophy, psychology, biology, neuroscience, and anthropology, and in doing so questions what implications these discussions hold for architectural design. Drawing upon a wealth of research, Mallgrave argues that we should turn our focus away from the objectification of architecture (treating design as the creation of objects) and redirect it back to those for whom we design: the people inhabiting our built environments.

This book provides an extended exploration of the multimodal analysis of spatial (three-dimensional) texts of the built environment, culminating in a holistic approach termed Spatial Discourse Analysis (SpDA). Based on existing frameworks of multimodal analysis, this book applies, adapts, and extends these frameworks to spatial texts. The authors argue that choices in spatial design create meanings about what we perceive and how we can or should behave within spatial texts, influence how we feel in and about those spaces, and enable these texts to function as coherent wholes. Importantly, a spatial text, once built, is also a resource which is then used, and an essential aspect of understanding these texts is to consider what users themselves contribute to the meaning potential of these texts. The book takes the metafunctional approach familiar from Systemic-Functional Linguistics (SFL) and foregrounds each metafunction in turn (textual, interpersonal, experiential, and logical), in relation to the detailed analysis of a particular spatial text.

In order for a book to succeed in presenting a theory of architecture, it must address aspects of imagination and creativity as well as the channels one can use to achieve truly significant architectural design. Poetics of Architecture explores the fundamental theories of Modern and Postmodern design and attempts to reconcile all that is worthwhile in these two movements into a new inclusivist attitude toward architecture. Anthony C. Antoniades looks at the many intangible and tangible channels one can harness in creating architectural design. By opening up architecture to the full range of creative influences, he tries to help readers produce designs that are richer on spatial, sensual, spiritual, and environmental levels. Some of the intangible channels to creativity explored in the book include fantasy, metaphor, the paradoxical and metaphysical, the primordial and untouched, poetry and literature, and the exotic and multicultural. Among the tangible channels covered are history and the study of precedents, mimesis and literal interpretation, geometry, materials, and the role of nature. The author presents rich and imaginative discussions of these various channels, explaining which were favored during the Modern and Postmodern movements and clarifying his theoretical analyses through the use of many vivid examples, tables, and illustrations. Included among the examples in the volume are many distinguished projects and theories by a wide range of noted architects such as Asplund, Aalto, Utzon, Pikionis, Barragín, Pietilä, Predock, and Legorreta, who are latecomers to the attention of the media. Antoniades also provides fascinating material on the study of architectural biographies as a means of achieving an all-inclusive creativity in architectural design. Highly original yet based on solid principles, Poetics of Architecture will help architects, designers, and students increase their versatility and creativity in the studio. It will also deepen their understanding and appreciation of the creative process and its many influences.

As advancements in transportation and technology continue to close the gap between architect, client, builder and site, critique and place, this book considers how architects, designers, theorists, and critics design, describe and critique future and past constructions in absentia. This book engages with remote practice, providing students, academics and professionals with the understanding and tools they need to rethink the role of the distant and disconnected in making, thinking and writing architecture - a skill which is becoming increasingly important in contemporary education and practice. Bringing together a collection of 16 essays and creative works from a diverse and respected group of scholars and designers, this book reflects upon the challenges and opportunities which remote practices occasion in architecture. Part One: Practice and Pedagogy investigates how a range of technological and economic advancements continue to redefine notions of connectedness in the practice of architecture at a distance and explores what it means to teach and study architecture at a distance from peer and place. Part Two: Critique and Performativity consists of a wide range of questions that unpack notions about situatedness, subjectivity, the body in space, and what occurs when disparate things are suddenly made proximate. The essays and creative works enable thematic as well as historically and culturally contextual understanding of the topic, highlighting important connections and changes across time.

The mind's eye as a design principle Lucius Burckhardt (1925-2003) outlined his theory of the "smallest possible intervention" back in the early 1980s. The idea of minimal intervention runs through his entire oeuvre, from his critique of urbanism to the science of walking. The "smallest possible intervention" denotes a planning theory that assumes two "views" within landscape design: that which is actually visible and that in our mind's eye. The theory of the minimal intervention means not interfering excessively with the existing landscape, but instead working with the landscape in our minds to develop an aesthetic understanding of the environment. In this book, available for the first time in English, the Swiss sociologist applies this formula to many areas of design. Intellectual distillation of Lucius Burckhardt's theories available for the first time in English Exploration of the relationships between planning and building Rationalization and needs

On Weathering illustrates the complex nature of the architectural project by taking into account its temporality, linking technical problems of maintenance and decay with a focused consideration of their philosophical and ethical implications.In a clear and direct account supplemented by many photographs commissioned for this book, Mostafavi and Leatherbarrow examine buildings and other projects from Alberti to Le Corbusier to show that the continual refinishing of the building by natural forces adds to, rather than detracts from, architectural meaning. Their central discovery, that weathering makes the "final" state of the construction necessarily indefinite, challenges the conventional notion of a building's completeness.By recognizing the inherent uncertainty and inevitability of weathering and by viewing the concept of weathering as a continuation of the building process rather than as a force antagonistic to it, the authors offer alternative readings of historical constructions and potential beginnings for new architectural projects.Mohsen Mostafavi is Associate Professor of Architecture and Director of the Master of Architecture I Program at the Graduate School of Design, Harvard University. David Leatherbarrow is Chairman of the Department of Architecture and of the Program in Urban Design at the Graduate School of Fine Arts, University of Pennsylvania.

This is the most accessible architectural theory book that exists. Korydon Smith presents each common architectural subject such as tectonics, use, and site as though it were a conversation across history between theorists by providing you with the original text, a reflective text, and a philosophical text. He also introduces each chapter by highlighting key ideas and asking you a set of reflective questions so that you can hone your own theory, which is essential to both your success in the studio and your adaptability in the profession. These primary source texts, which are central to your understanding of the discipline, were written by such architects as Le Corbusier, Robert Venturi, and Adrian Forty. The appendices also have guides to aid your reading comprehension; to help you write descriptively, analytically, and disputationally; and to show you citation styles and how to do library-based research. More than another architectural theory book about the great thinkers, Introducing Architectural Theory teaches you to think as well.

The evolution of modern architecture has been inextricably entangled in issues of politics, nationalism, and the environment, creating a tension between local context and global development that is unresolved to this day. In this context, few writers have exerted as much influence on architectural theory and practice as Kenneth Frampton. In this illustrated volume, twenty-nine contributors from around the world amplify and pay tribute to his writing and thought. Intended for all those concerned with the built environment, this book offers further evidence of how this scholar, humanist, and teacher has shaped our understanding of the working reality of the architect. The premise of Modern Architecture and the Lifeworld is rooted in Frampton's understanding of how architecture must engage with both cultural and constructional imperatives; and it addresses strategies for grappling with contemporary concerns such as regional identity amidst urban globalization, and tectonic culture and landform in the construction of place. Supported by the Graham Foundation for Advanced Studies in the Fine Arts.

This volume of the "Delft School of Design" series focuses on the South African urban context, seeking to construct a contemporary critical dialogue of current spatial practices in relation to social, political and governance structures. The contributors-academics, urban historians, architects, policy makers-reflect on the possible paths forward. The book is divided into thematic sections: "Other Urbanisms," "Tradition, Culture and Education," "Urban Design, Civic Action and Agency in South Africa" and "Future Perspectives."

Timo Carl presents alternatives to curtain wall facades and other flat boundaries creating autonomous spaces. He investigates facade typologies with multiple material layers to strategize the relationship between buildings and their environment. By revisiting Le Corbusiers seminal brise soleil an alternative reading of the modern project emerges: one that is not based on classical compositional rules, but instead on the dynamic relationships with environmental forces. Finally, an exciting series of project-based investigations sets out innovative ways in which novel deep skins combine energy-conscious performance with the poetics of architecture.