This volume explores connections between architecture and theatre, and encourages imagination in the design of buildings and social spaces. Imagination is arguably the architect's most crucial capacity, underpinning memory, invention and compassion. No simple power of the mind, architectural imagination is deeply embodied, social and situational. Its performative potential and holistic scope may be best understood through the model of theatre. Theatres of Architectural Imagination examines the fertile relationship between theatre and architecture with essays, interviews and entr'actes arranged in three sections: Bodies, Settings and (Inter)Actions. Contributions explore a global spectrum of examples and contexts, from ancient Rome and Renaissance Italy to modern Europe, North America, India and Japan. Topics include: the central role of the human body in design; the city as a place of political drama, protest and phenomenal play; and world-making through language, gesture and myth. Chapters also consider sacred and magical functions of theatre in Balinese and Persian settings; eccentric experiments at the Bauhaus and 1970 Osaka World Expo; and ecological action and collective healing amid contemporary climate chaos. Inspired by architect and educator Marco Frascari, the book performs as a Janus-like memory theatre, recalling and projecting the architect's perennial task of reimagining a more meaningful world. This collection will delight and provoke thinkers and makers in theatrical arts and built environment disciplines, especially Architecture, Landscape and Urban Design.

The first book that explains, translates and critically addresses the relevance of Bruno Latour's ideas and methods for the field of architecture. Introduces significant texts, decodes terms and provides original empirical examples from architectural practice across the world. Written by the only disciple of Bruno Latour working in the field of architecture and a well-experienced scholar and teacher in architecture and urban design.

Coding, Shaping, Making combines inspiration from architecture, mathematics, biology, chemistry, physics and computation to look towards the future of architecture, design and art. It presents ongoing experiments in the search for fundamental principles of form and form-making in nature so that we can better inform our own built environment. In the coming decades, matter will become encoded with shape information so that it shapes itself, as happens in biology. Physical objects, shaped by forces as well, will begin to design themselves based on information encoded in matter they are made of. This knowledge will be scaled and trickled up to architecture. Consequently, architecture will begin to design itself and the role of the architect will need redefining. This heavily illustrated book highlights Haresh Lalvani's efforts towards this speculative future through experiments in form and form-making, including his work in developing a new approach to shape-coding, exploring higher-dimensional geometry for designing physical structures and organizing form in higher-dimensional diagrams. Taking an in-depth look at Lalvani's pioneering experiments of mass customization in industrial products in architecture, combined with his idea of a form continuum, this book argues for the need for integration of coding, shaping and making in future technologies into one seamless process. Drawing together decades of research, this book will be a thought-provoking read for architecture professionals and students, especially those interested in the future of the discipline as it relates to mathematics, science, technology and art. It will also interest those in the latter fields for its broader implications.

Provides, for the first time, access to a chronological arc of John Habrakens’ writing in a single collection. Includes over 250 illustrations and interview with the author to enable him to reflect on his journey of inquiry, research, advocacy and teaching His record of accomplishments, too often unrecognized for their seminal value, is remarkable and without match, and continues to enjoy an expanding worldwide following.

In this collection of idiosyncratic lessons, architect and teacher Pier Paolo Tamburelli engages with the very foundations of arch-itecture, proposing a series of new and open-ended perspectives on how we build the world. Developed for the 'Grundkurs', or 'basic course', at Vienna Technical University, Tamburelli's lessons are presented through the annotated sketches that form the basis of his lectures - variously rough and precise, sarcastic and sincere, and always uniquely expressive. This volume is a rich visual sourcebook of architectural ideas that form an accessible and discursive introduction to the discipline - one which pauses on the road to grand theories to learn from the intuitive processes of notetaking, drawing, and association. Tamburelli's lessons are based around a series of dialectic couples, including Roof/Wall, Shelter/Memory, and Language/Action. The pairs are experimental and often provocative, offering a framework to be used to climb in the direction of architecture. Tamburelli trusts in the capacity of images to suspend the restraints of more rigorous theoretical approaches, embraces the flexible wisdom of the note, and relishes the intrigue of the cryptic messages we leave for ourselves. Reproduced here in their entirety, these eight lessons offer countless routes towards, through, and around architecture, providing newcomers and experts alike with an intimate and refreshing encounter with a millennia-old discipline. With an introduction by the author and a text by Mark Lee, Chair of the Department of Architecture at Harvard Graduate School of Design

This book traces the history of urban design in tropical South East Asia with a view to offering solutions to contemporary architectural and urban problems. The book examines how pre-colonial forms and patterns from South East Asian traditional cities, overlaid by centuries of change, recall present notions of ecological and organic urbanism. These may look disorganised, yet they reflect and suggest certain common patterns that inform eco-urban design paradigms for the development of future cities. Taking a thematic approach, the book examines how such historical findings, debates and discussions can assist designers and policy makers to interpret and then instil identities in urban design across  the Asian region. The book weaves a discourse across planning, urban design, architecture and ornamentation dimensions to reconstruct forgotten forms that align with the climate of place and resynchronise with the natural world, unearthing an ecologically benign urbanism that can inform the future. Written in an accessible style, this book will be an invaluable reference for researchers and students within the fields of cultural geography, urban studies and architecture.

This book introduces architectural applications of parametric methods in design, drawing direct connections between each phase of the architectural design process with relevant parametric approaches. Readers will find applications of parametric methods with straightforward explanations of concepts, commands as well as applicable examples for each phase of the architectural design process. In addition to learning about the historical and conceptual background of parametric design, readers can use this book as a go-to source during their day-to-day design practice. Chapters are organized according to different phases of the architectural design process, such as site analysis, spatial organization, skin systems, and environmental performance analyses. Together, they deliver concepts, applications, and examples utilizing in-depth visual guides that explain commands, their outcomes, and their interrelationships. With over 350 images, this book includes examples from the author's own design studio and parametric design teaching in elective classes. Based on the Rhinoceros and Grasshopper platforms, this book is an accessible, yet in-depth, resource for architecture students and early professionals who are considering integrating parametric applications into their design processes.

* Introduces a holistic and embodied alternative to visually-driven architecture, demonstrating that it is more capable of sustaining our physical, emotional and psychological wellbeing * Written in an accessible manner that increases interest and understanding in what is a traditionally diffuse subject area * Illustrated with almost 100 black and white images

Computer Architectures is a collection of multidisciplinary historical works unearthing sites, concepts, and concerns that catalyzed the cross-contamination of computers and architecture in the mid-20th century. Weaving together intellectual, social, cultural, and material histories, this book paints the landscape that brought computing into the imagination, production, and management of the built environment, whilst foregrounding the impact of architecture in shaping technological development. The book is organized into sections corresponding to the classic von Neumann diagram for computer architecture: program (control unit), storage (memory), input/output and computation (arithmetic/logic unit), each acting as a quasi-material category for parsing debates among architects, engineers, mathematicians, and technologists. Collectively, authors bring forth the striking homologies between a computer program and an architectural program, a wall and an interface, computer memory and storage architectures, structures of mathematics and structures of things. The collection initiates new histories of knowledge and technology production that turn an eye toward disciplinary fusions and their institutional and intellectual drives. Constructing the common ground between design and computing, this collection addresses audiences working at the nexus of design, technology, and society, including historians and practitioners of design and architecture, science and technology scholars, and media studies scholars.

This book's overarching premise is that discussion and critique in the discourses of architecture and urbanism have their primary focus on engagements with form, particularly in the sense of the question as to what planning and architecture signify with respect to the forms they take, and how their meanings or content (what is "contained") is considered in relation to form-as-container. While significant critical work in these disciplines has been published over the past 20 years that engages pertinently with the writings of Walter Benjamin and Michel Foucault, there has been no address to the co-incidence in the work of Benjamin and Foucault of an architectural figure that is pivotal to each of their discussions of the emergence of modernity: The arcade for Benjamin and the panoptic prison for Foucault have a parallel role. In Foucault's terms, panopticism is a "diagram of power." The parallel, for Benjamin, would be his understanding of "constellation." In more recent architectural writings, the notion of the diagram has emerged as a key motif. Yet, and in as much as it supposedly relates to aspects of the work of Foucault, along with Gilles Deleuze, this notion of "diagram" amounts, for the most part, to a thinly veiled reinstatement of geometry-as-idea. This book redresses the emphasis given to form within the cultural philosophy of modernity and-particularly with respect to architecture and urbanism-inflects on the agency of force that opens a reading of their productive capacities as technologies of power. It is relevant to students and scholars in poststructuralist critical theory, architecture, and urban studies. "This is a book about Foucault and Benjamin and it is grounded in a deep knowledge of and reflection upon their works, but it is also underpinned by an impressive erudition. There are reflections on Hegel and Heidegger (central to the author) and Derrida, along with Kierkegaard, and others. This leads to a rich and suggestive discussion ... in staging a spatial-architectural-political conversation between Foucault and Benjamin." - Anonymous Reviewer "Mark Jackson's Diagrams of Power in Benjamin and Foucault, The Recluse of Architecture juxtaposes and interrogates its two leading actors so as to draw from and through them a theory of architecture, which is inseparable from its recluse. In doing so it elaborates a series of complex connections with their various interlocutors and inspirations, Hegel, Heidegger, Derrida, the Kabbalah, Agamben, allegory, Marx, Deleuze, Klossowski, tragedy, capitalism, modernity, and so on. The list is long and impressive. This is not only done with an extremely high degree of scholarship, but is presented in a light, lucid and very compelling manner in a voice both personal and authoritative. The recluse is the figure of mimesis itself, the appearance of a withdrawal, always already a ruin. This book not only contributes a highly astute reading of its philosophical objects, but it enacts the ontology of the recluse through its own unfolding, simultaneously revealing and withholding the meaning of architecture 'as such', so that we not only understand its meaning, but feel the pulsing differential of the book's object as if it were alive within us." - Stephen Zepke, Independent Researcher, Vienna

Over the last twenty years, Jeff Malpas' research has involved his engagement with architects and other academics around the issues of place, architecture and landscape and particularly the way these practitioners have used the work of Martin Heidegger. In Rethinking Dwelling, Malpas' primary focus is to rethink of these issues in a way that is directly informed by an understanding of place and the human relation it. With essays on a range of architectural and design concerns, as well as engaging with other thinkers on topics including textuality in architecture, contemporary high-rise construction, the significance of the line, the relation between building and memory and the idea of authenticity in architecture, this book departs from the traditional phenomenological focus and provides students and scholars with a new ontological assessment of landscape and architecture. As such, it may also be used on other 'spatial' or 'topographic' disciplines including geography, sociology, anthropology, and art in which the 'spatial turn' has been so important.

This Handbook provides the first comprehensive international overview of significant contemporary Indigenous architecture, practice, and discourse, showcasing established and emerging Indigenous authors and practitioners from Australia, Aotearoa New Zealand, the Pacific Islands, Canada, USA and other countries. It captures the breadth and depth of contemporary work in the field, establishes the historical and present context of the work, and highlights important future directions for research and practice. The topics covered include Indigenous placemaking, identity, cultural regeneration and Indigenous knowledges. The book brings together eminent and emerging scholars and practitioners to discuss and compare major projects and design approaches, to reflect on the main issues and debates, while enhancing theoretical understandings of contemporary Indigenous architecture.The book is an indispensable resource for scholars, students, policy makers, and other professionals seeking to understand the ways in which Indigenous people have a built tradition or aspire to translate their cultures into the built environment. It is also an essential reference for academics and practitioners working in the field of the built environment, who need up-to-date knowledge of current practices and discourse on Indigenous peoples and their architecture.

Features thirteen essays by the influential late architect, philosopher and teacher Dalibor Vesely (1934-2015). For the first time his full range of writing is presented in one volume, including new and hard-to-access material. Edited and introduced by Vesely's teaching partner at Cambridge Peter Carl and former student Alexandra Stara and includes over 80 illustrations.

Architecture in Black argues that architecture, as an aesthetic practice, and blackness, as a lingusitic practice, operate within the same semiotic paradigm. The book presents the first systematic analysis of the theoretical relationship between architecture and blackness. Employing a technique whereby texts are realted through the repetition and revision of their semiotic structures, Architecture in Black reconstructs the genealogy of a black racial subject reprsented by the simultaneous reading of a range of canonical apparatus invented by this reading is then used to critique a discrete set of architectural texts, demonstrating the presence of the 'black venacular' in contemporary architectural theory.>

Responding to increasing levels of planetary pollution, waste generation, carbon dioxide emission and environmental collapse, Ecologies of Inception re-thinks potentiality-an object's ability to change-in architecture and design. The book problematizes the still-prevailing modern paradigm of design practice: the technical tabula rasa, a tendency to begin from scratch and use raw, amorphous, and obedient materials that can be easily and effectively manipulated, facilitating a seamless and faithful embodiment of intentions. Instead, the philosophy of design developed in the text prompts-through a variety of case studies, thinkers, and disciplines-a collective reconsideration of value, dissociating it from the projects and signatures of any one author or generation. Whereas the merits of up-cycling and circular design are canonically defined vis-a-vis status-quo economic and socio-cultural orthodoxies, this project unpacks the theoretical assumptions that underpin these practices, showing that they perpetuate the same biases and exclusions that generate waste in the first place. As an alternative, the book introduces a nodal and exaptive paradigm for design: a conceptual and methodological toolset for engaging the durational and anthropocenic materiality of the third millennium, and for radically prioritizing practices of maintenance, reuse, care, and co-option. This approach, which is inspired by (and builds upon) evolutionary biology, technological disobedience, queer use, adaptive reuse, experimental preservation, and improvisational practices such as collage, adhocism, bricolage, and kit-bashing, refuses to reduce pre-existing material substrates to abstract lists of properties or featureless lumps, encountering them on their own terms-as situated individuals and co-authors. Ecologies of Inception will appeal to undergraduate and postgraduate students, educators, and professional architects and designers interested in sustainable design and seeking to develop conceptual and design tools commensurate with the magnitude and urgency of the climate emergency.

This book looks at alternative ways of analyzing traditional and contemporary architectural design and building practices in South Asia with a special focus on India. It showcases how collaborative projects between architects and local communities and drawing from local building traditions can lead to sustainable and equitable practices in architecture. The volume includes an analysis of projects in rural, tribal, and urban areas of India and Nepal and first-hand accounts of architects, teachers, and professionals engaged in the theory and practice of design and architecture. It examines the differences between the individualistic and the collective approach and explores the meaning of architecture as a process and as a product and as a decentralized, ecologically, and locally sensitive way of designing. While comparing traditional and modern methods of building, it also examines the impact of each method on the community, the economy and the surrounding environment. This book will be of interest to researchers and students of architecture, urban studies, urban planning, urban ecology, urban geography, and sustainable development. It will also be useful for architects, planners, urban designers, and professionals associated with these disciplines.

This book proposes and systematically discusses four trends of thoughts in contemporary Chinese urban design. As the first book to systematically introduce contemporary Chinese urban design thoughts, this book objectively displays the macroscopic picture of contemporary urban design development of China from the time dimension, sorting out seven historical stages and three disputes. This book is mainly divided into two parts. The first part focuses on the vertical description, taking the major events in the seven historical stages as the context, combing the macro picture of the development of contemporary urban design in China in the last 100 years, and describing the three controversies in this process: contention, subject, and legalization. The second part focuses on horizontal observations, puts forward and systematically discusses the four trends of thought formed in the development of contemporary urban design in China, including "Design of Form," "Synthesis of Design," "Control of Design," and "Design of Rule". This part discusses their development background, theoretical support, and key concepts in detail and finally conducts critical thinking. The whole book is based on historical events, archives, and papers published in Chinese academic journals. While sorting out, summarizing, and objectively discussing, it also makes a critique of urban design activities and academic thinking in China, which will greatly benefit scholars and readers who are interested in urban design history of contemporary China.

Phenomenological Perspectives on Place, Lifeworlds and Lived Emplacement is a compilation of fifteen previously published articles and chapters by David Seamon, one of the foremost researchers in environmental, architectural, and place phenomenology. These entries discuss such topics as body-subject, the lived body, place ballets, environmental serendipity, homeworlds, and the pedagogy of place and place making. The fifteen chapters are broken into three parts. Part I includes four entries that consider what phenomenology offers studies of place and place making. These chapters illustrate the theoretical and practical value of phenomenological concepts like lifeworld, natural attitude, and bodily actions in place. Part II incorporates five chapters that aim to understand place and lived emplacement phenomenologically. Topics covered include environmental situatedness, architectural phenomenology, environmental serendipity, and the value of phenomenology for a pedagogy of place and place making. Part III presents six explications of real-world places and place experience, drawing on examples from photography (Andre Kertesz's Meudon), television (Alan Ball's Six Feet Under), film (John Sayles' Limbo and Sunshine State), and imaginative literature (Doris Lessing's The Four-Gated City and Louis Bromfield's The World We Live in). Seamon is a major figure in environment-behavior research, particularly as that work has applied value for design professionals. This volume will be of interest to geographers, environmental psychologists, architects, planners, policymakers and other researchers and practitioners concerned with place, place experience, place meaning, and place making.

Through a collection of 13 chapters, Peggy Deamer examines the profession of architecture not as an abstraction, but as an assemblage of architectural workers. What forces prevent architects from empowering ourselves to be more relevant and better rewarded? How can these forces be set aside by new narratives, new organizations and new methods of production? How can we sit at the decision-making table to combat short-term real estate interests for longer-term social and ethical value? How can we pull architecture-its conceptualization, its pedagogy, and its enactment-into the 21st century without succumbing to its neoliberal paradigm? In addressing these controversial questions, Architecture and Labor brings contemporary discourses on creative labor to architecture, a discipline devoid of labor consciousness. This book addresses how, not just what, architects produce and focuses not on the past but on the present. It is sympathetic to the particularly intimate way that architects approach their design work while contextualizing that work historically, institutionally, economically, and ideologically. Architecture and Labor is sure to be a compelling read for pre-professional students, academics, and practitioners.

This timely collection of essays by leading international scholars across religious studies and the environmental humanities advances a lively discussion on materialism in its many forms. While there is little agreement on what ‘materialism’ means, it is evident that there is a resurgence in thinking about matter in more animated and active ways. The volume explores how debates concerning the new materialisms impinge on religious traditions and the extent to which religions, with their material culture and beliefs in the Divine within the material, can make a creative contribution to debates about ecological materialisms. Spanning a broad range of themes, including politics, architecture, hermeneutics, literature and religion, the book brings together a series of discussions on materialism in the context of diverse methodologies and approaches. The volume investigates a range of issues including space and place, hierarchy and relationality, the relationship between nature and society, human and other agencies, and worldviews and cultural values. Drawing on literary and critical theory, and queer, philosophical, theological and social theoretical approaches, this ground-breaking book will make an important contribution to the environmental humanities. It will be a key read for postgraduate students, researchers and scholars in religious studies, cultural anthropology, literary studies, philosophy and environmental studies.

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 Place of Silence explores the poetics and politics of silence in architecture. Bringing together contributions by internationally recognized scholars in architecture and the humanities, it explores the diverse practices, affects, politics and cultural meanings of silence, silent places and silent buildings in historical and contemporary contexts. What counts as silence in specific situations is highly relative, and the term itself carries complex and varied significations which make it a revealing field of study. Chapters explore a range of themes, from the apparent 'loss of silence' in the contemporary urban world; through designed silent spaces; to the forced silences of oppression, catastrophe, or technological breakdown. The book unfolds a rich and complementary array of perspectives which address - through the lens of architecture and place - questions of sound, atmosphere, and attunement, together building a volume which will form the key scholarly resource on architecture and silence.

In this invaluable and thought-provoking book, Vladimir Belogolovsky reflects on nearly 20 years of conversations with leading creatives from around the world whose focus is on art, photography, architecture, design, critical theory, and more. His intimate dialogues are with prolific visionaries, the likes of Paul Andreu, Aaron Betsky, Tatiana Bilbao, Christo, Norman Foster, Zaha Hadid, Toyo Ito, Glenn Murcutt, Renzo Piano, Moshe Safdie, Ric Scofido, Richard Serra, Frank Stella, Michael Sorkin, Stanley Tigerman, Bernard Tschumi, Lin Utzon, Massimo Vignelli, Madelon Vriesendorp, and so many others. He exposes the complexity of their thought processes, while comparing and contrasting them to one another to distill more than 101 ideas. His engaging narrative captures the stories behind every project and every personality while exploring many important questions, including what makes a building architecture? How would a Futurist solve problems vs those whose focus is on nostalgia? The selection of interviews gathers many answers and intentions, but inevitably, also many more questions. Imagine Buildings Floating Like Clouds represents a diverse group of multitalented, creative people who work in disparate places culturally and climatically and came of age in very different times-from the revolutionary 1960s to our own time, when the future, for many, is being more feared than desired.

Architecture is a Verb outlines an approach that shifts the fundamental premises of architectural design and practice in several important ways. First, it acknowledges the centrality of the human organism as an active participant interdependent in its environment. Second, it understands human action in terms of radical embodiment-grounding the range of human activities traditionally attributed to mind and cognition: imagining, thinking, remembering-in the body. Third, it asks what a building does-that is, extends the performative functional interpretation of design to interrogate how buildings move and in turn move us, how they shape thought and action. Finally, it is committed to articulating concrete situations by developing a taxonomy of human/building interactions. Written in engaging prose for students of architecture, interiors and urban design, as well as practicing professionals, Sarah Robinson offers richly illustrated practical examples for a new generation of designers.