The Revenge of the Real envisions a new positive biopolitics that recognises that how populations govern themselves is literally a matter of life and death. We are grappling with multiple interconnected dilemmas - climate change, pandemics, the tensions between the individual and society - all of which have to be addressed on a planetary scale. Even when separated, we are still enmeshed. Can the world govern itself differently? If so, what models and philosophies are needed? Bratton argues that, instead of thinking of technology as something that happens to society, we must see how it can form the basis of a politics of infrastructure, knowledge, and direct intervention. He urges us to reconsider questions of "surveillance" in the face of necessary testing and care. He asks what did the "mask wars" reveal about the destructive nature of individualism as the basis of sovereignty? The book proposes that it is time to transform how we live, work and thrive. Rethinking governance means rethinking how we interact with each other as a global population, and how we ensure our obligations to each other. For this, we should build a society based in a new rationality of inclusion, care and foresight.

AA Files 72 features contributions by Davide Spina, Thomas Daniell, Itsuko Hasegawa, Mario Tedeschini-Lalli, Laurent Stalder & Moritz Gleich, Colin Rowe, Daniel Naegele, Irenee Scalbert, Peter St John, Silvia Micheli & Lea-Catherine Szacka, Paulo Berdini, Daniel Sherer, Hubert Damisch, Nicolas Kemper, Thomas Weaver, Alexander Brodsky, Emma Letizia Jones, Henrik Schoenefeldt and Max Moya.

The Winter 2012 (vol. 14 no. 3) issue of the Nexus Network Journal features seven original papers dedicated to the theme "Digital Fabrication". Digital fabrication is changing architecture in fundamental ways in every phase, from concept to artifact. Projects growing out of research in digital fabrication are dependent on software that is entirely surface-oriented in its underlying mathematics. Decisions made during design, prototyping, fabrication and assembly rely on codes, scripts, parameters, operating systems and software, creating the need for teams with multidisciplinary expertise and different skills, from IT to architecture, design, material engineering, and mathematics, among others The papers grew out of a Lisbon symposium hosted by the ISCTE-Instituto Universitario de Lisboa entitled "Digital Fabrication - A State of the Art". The issue is completed with four other research papers which address different mathematical instruments applied to architecture, including geometric tracing systems, proportional systems, descriptive geometry and correspondence analysis. The issue concludes with a book review.

The condition of "fake" and "real" in architecture is rarely publicly discussed nor has it encountered broad journalistic or scholarly attention. This book explores the realm of truth, authenticity and fakery in architecture, providing a timely collection of analytical essays and projects. Photographers, writers and architects share their understanding and speculations about a broad range of spaces and concepts all searching for common ground between real and imagined, function and story. The authors challenge our perception of "authenticity " through the examination of built and simulated environments, architectural fiction, theatric illusions and mannerist trickery. They examine the notion that the principle of Sullivans "form follows function" contains a paradox caused by the ambiguity and complexity of architectural expression. Buildings are perceived through an individuals personal experiences while also being interpreted along broader cultural values. The works shown reveal that under scrutiny, any built environment harbors both, reveals moments of truth, deception and ambiguity all of it partially in the eye of the beholder.The diverse contributions shed light on unexpected identities in architecture inviting criticalthought about our built environment analog and digital. The goal of this publication goes beyond unmasking deception in architecture, it aims at unfolding time-lines and revealing the layerednature of people and places. The images and essays reveal our contemporary condition and let collective and individual narratives unfold, a range of truths in themselves. Expanding from the discussion about truthful materiality and tectonics, this book provides an understanding ofreal, authentic, and fake in urbanism and architecture. Anne-Catrin Schultz studied architecture inStuttgart and Florence. Following post-doctoral research at the Massachusetts Institute of Technoloyin Boston, she worked for several years with Turnbull Griffin Haesloop and Skidmore, Owings & Merrill in San Francisco. While developing her own practice, she has taught at the University of California in Berkeley, the California College of the Arts and the Academy of Arts University in San Francisco. In 2013 she joined the Department of Architecture at Wentworth Institute of Technology in Boston.

Buildings are driven by human emotions and desires; hope, power, money, sex, the idea of home. In Why We Build Rowan Moore explores the making of buildings from conception to inhabitation and reveals the paradoxical power of architecture: it looks fixed and solid, but is always changing in response to the lives around it. Moving across the globe and through history, through works of folly, beauty, spectacle, and subtlety, Moore gives a provocative and iconoclastic view of what makes architecture, why it matters, and why we find it fascinating. You will never look at a building in the same way again.

The story of how the concept of a pantheon, a building honouring great individuals, spread across Revolutionary Europe and interacted with socio-political and cultural changes. Analysing the canon and iconography of each pantheon, Bouwers shows how the commemoration of war and celebration of nationhood gave way to the protection of elite interests.

This study peers behind the veil of architectural styles to the underlying social microcosm of the 'building world' of the eighteenth and nineteenth centuries, to examine how the fragile authority of the architect took root there. Bringing to architectural history methods more familiar from studies of the social content of poetry and painting, Brian Hanson is able to establish often surprising relationships between many of the key figures of the period - including Chambers, Soane, Barry, Pugin, Scott and Street - shedding light also on lesser figures, and on agencies as diverse as Freemasonry and magazine publishing. John Ruskin in particular emerges here in a different light, as do his arguments concerning 'The Nature of Gothic'. In line with rethinking of the pace of industrialization, and the dynamic between the metropolitan centres and the more slowly evolving 'fringes', Hanson concludes that in some respects Ruskin was closer to William Chambers than to William Morris.

Letter From The Editor.- Letter From The Editor.- Architecture, Mathematics and Perspective.- Giotto and Renaissance Perspective.- Perspective, a Visionary Process: The Main Generative Road for Crossing Dimensions.- Perspective in a box.- Juan Bautista Villalpando and the Nature and Science of Architectural Drawing.- Perspective versus Stereotomy: From Quattrocento Polyhedral Rings to Sixteenth-Century Spanish Torus Vaults.- The Sunlight Effect of the Kukulcan Pyramid or The History of a Line.- Some Adaptations of Relativity in the 1920s and the Birth of Abstract Architecture.- Book Reviews.- The Mirror, the Window, and the Telescope: How Renaissance Linear Perspective Changed Our Vision of the Universe.- The Geometry of an Art. The History of Perspective from Alberti to Monge.- Forma y Representacion. Un Analisis Geometrico.

We grasp and transform the world through interplays of quantification and qualification. The cross pollination of geometric and literary figures is deeply embedded in our cognitive habits, instruments of inquiry and the constructed environment. Through time, thought has reflected on the visible processes and products of material craft to explain and train the invisible workings of the mind. Recursively, material craft embodies a tradition of splitting ideas into categorical parts and compositional units for reassembly. Although the mathematical and verbal arts are often placed in contrast, human inventions manifest a weave of alphanumerics. Mythic parables, geometric proofs, memory arts, poems, algorithms, buildings and cities emerge from the intercourse of measure and explication. This special issue of the "Nexus Network Journal" considers architectonic examples of past, present and potential geometries of rhetoric.

Letter from the Editor.- Letter from the Editor.- Recalling Eero Saarinen 1910-2010.- How the Gateway Arch Got its Shape.- Saarinen's Shell Game: Tensions, Structures, and Sounds at MIT.- The Next Largest Thing: The Spatial Dimensions of Liturgy in Eliel and Eero Saarinen's Christ Church Lutheran, Minneapolis.- Morphocontinuity in the work of Eero Saarinen.- Eero Saarinen, Eduardo Catalano and the Influence of Matthew Nowicki: A Challenge to Form and Function.- Eero Saarinen's North Christian Church in Columbus, Indiana.- Other Research.- On the Modular Design of Mughal Riverfront Funerary Gardens.- Discontinuous Double-shell Domes through Islamic eras in the Middle East and Central Asia: History, Morphology, Typologies, Geometry, and Construction.- At the Other End of the Sun's Path: A New Interpretation of Machu Picchu.- The Body, the Temple and the Newtonian Man Conundrum.- Book Review.- The Symbol at Your Door: Number and Geometry in Religious Architecture of the Greek and Latin Middle Ages.- Conference Report.- Architecture and Mathematics. A seminar to celebrate Professor emeritus Staale Sinding-Larsen's 80th birthday.- Erratum.- Erratum to: The Sunlight Effect of the Kukulcan Pyramid or The History of a Line.

Many literary critics seem to think that an hypothesis about obscure and remote questions of history can be refuted by a simple demand for the production of more evidence than in fact exists. The demand is as easy to make as it is impossible to satisfy. But the true test of an hypothesis, if it cannot be shown to con?ict with known truths, is the number of facts that it correlates and explains. Francis M. Cornford [1914] 1934, 220. It was in the autumn of 1997 that the research project leading to this publication began. One of us [GH], while a visiting fellow at the Center for Philosophy of Science (University of Pittsburgh), gave a talk entitled, "Proportions and Identity: The Aesthetic Aspect of Symmetry". The presentation focused on a confusion s- rounding the concept of symmetry: it exhibits unity, yet it is often claimed to reveal a form of beauty, namely, harmony, which requires a variety of elements. In the audience was the co-author of this book [BRG] who responded with enthusiasm, seeking to extend the discussion of this issue to historical sources in earlier periods. A preliminary search of the literature persuaded us that the history of symmetry was rich in possibilities for new insights into the making of concepts. John Roche's brief essay (1987), in which he sketched the broad outlines of the history of this concept, was particularly helpful, and led us to conclude that the subject was worthy of monographic treatment.

This book deals with the economic aspects of changing attitudes in arts and sciences. The effects of the public good character of culture, along with the very long production period and lifetime for its products, are emphasized, since both contribute to the failure of normal market solutions. Embodiment of ideas, and the consequences of modern reproduction technology for protection of property rights are closely examined.

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.

Bringing together the reflections of an architectural theorist and a philosopher, this book encourages philosophers and architects, scholars and designers alike, to reconsider what they do as well as what they can do in the face of challenging times. It does so by exploring the notion that architecture and design can (and possibly should), in their own right, make for a distinctive form of ethical investigation. The book is less concerned with absolutist understandings of the two components of ethics, a theory of 'the good' and a theory of 'the right', than with remaining open to multiple relations between ideas about the built environment, design practices and the plurality of kinds of human subjects (inhabitants, individuals and communities) accommodated by buildings and urban spaces. The built environment contributes to the inculcation of all sorts of values (good and bad). Thus, this book aims to change the way people commonly think about ethics, not only in relation to the built environment, but to themselves, their ways of thinking and modes of behaviour.

Concrete Vaulted Construction in Imperial Rome examines methods and techniques that enabled builders to construct some of the most imposing monuments of ancient Rome. Focusing on structurally innovative vaulting and the factors that influenced its advancement, Lynne Lancaster also explores a range of related practices, including lightweight pumice as aggregate, amphoras in vaults, vaulting ribs, metal tie bars, and various techniques of buttressing. She provides the geological background of the local building stones and applies mineralogical analysis to determine material provenance, which in turn suggests trading patterns and land use. Lancaster also examines construction techniques in relation to the social, economic, and political contexts of Rome, in an effort to draw connections between changes in the building industry and the events that shaped Roman society from the early empire to late antiquity. This book was awarded the James R. Wiseman Book Award from the Archaeological Institute of America in 2007.

Based on the recent discovery of his fully-preserved private archive-models, photos, letters, business files, and drawings-this book tells the story of Theodore Conrad (1910-1994), the most prominent and prolific architectural model-maker of the 20th century. Conrad's innovative models were instrumental in the design and realization of many icons of American Modernism-from the Rockefeller Center to Lever House and the Seagram Building. He revolutionized the production of architectural models and became a model-making entrepreneur in his own right. Yet, despite his success and the well-known buildings he helped to create, until now little has been known about Conrad's work and his impact on 20th century architectural history. With exclusive access to Conrad's archive, as well as that of model photographer Louis Checkman-both of which have lain undiscovered in private storage for decades-this book examines Conrad's work and legacy, accompanied by case studies of his major commissions and full-color photographs of his works. Set against the backdrop of the surge in model-making in the 1950s and 1960s-which Jane Jacobs called "The Miniature Boom"-it explores how Conrad's models prompt broader scholarly questions about the nature of authorship in architecture, the importance of craftsmanship, and about the translation of architectural ideas between different media. The book ultimately presents an alternative history of American modern architecture, highlighting the often-overlooked influence of architectural models and their makers.

Modern Architectural Theory is the first book to provide a comprehensive survey of architectural theory, primarily in Europe and the United States, during three centuries of development. In this synthetic overview, Harry Mallgrave examines architectural discourse within its social and political context. He explores the philosophical and conceptual evolution of its ideas, discusses the relation of theory to the practice of building, and, most importantly, considers the words of the architects themselves, as they contentiously shaped Western architecture. He also examines the compelling currents of French rationalist and British empiricist thought, radical reformation of the theory during the Enlightenment, the intellectual ambitions and historicist debates of the nineteenth century, and the distinctive varieties of modern theory in the twentieth century up to the profound social upheaval of the 1960s. Modern Architectural Theory challenges many assumptions about architectural modernism and uncovers many new dimensions of the debates about modernism.

The title of this issue of the Nexus Network Journal, "Architecture, Mathematics and Structure," is deliberately ambiguous. At first glance, it might seem to indicate the relationship between what buildings look like and how they stand up. This is indeed one aspect of what we are concerned with here. But on a deeper level, the fundamental concept of structure is what connects architecture to mathematics. Both architecture and mathematics are highly structured formal systems expressed through a symbolic language. For architecture, the generating structure might be geometrical, musical, modular, or fractal. Once we understand the nature of the structure underlying the design, we are able to "read" the meaning inherent in the architectural forms. The papers in this issue all explore themes of structure in different ways.

The Olympiapark in Munich is one of the most famous projects of the landscape architect Günther Grzimek (1915–1996), yet his entire oeuvre has proved to be pioneering and timeless. He advocated for a new form of urban green space in Germany, a “demokratisches Grün� (democratic green space), while also campaigning for practice-oriented training in landscape architecture. Grzimek’s biography offers a wellspring of new discoveries. It traverses the history of modern Germany and encompasses his collaborations with famous architects, town planners, and designers – including Otl Aicher, who developed the basic outline of this volume together with Grzimek in the 1980s. Featuring plans, images, texts, and excerpts from Grzimek’s own writings, this comprehensive new book offers a vivid and in-depth encounter with this major innovator and illustrates the lively history of landscape architecture in Germany from the 1930s in Berlin to the 1990s in Munich.

An Atlas of Another America is a work of speculative architectural fiction and theoretical analysis of the American single-family house and its native habitat, the suburban metropolis. Mass-marketed and endlessly multiplied, and the definitive symbol of success in America and around the world, the suburban house has also become a global economic calamity and an impending environmental catastrophe. Yet, as both object and idea, it remains largely unexamined from an architectural perspective. This new book fills this gap through projects and essays that reflect upon, critique, and reformulate the equation that binds the house as an object to the American dream as a concept. Adopting tone and format of an historical architectural treatise, it builds upon an eminent lineage of architectural research from Piranesi and Ledoux to Branzi and Koolhaas in which imaginary but not implausible worlds are constructed through drawing in order to reframe reality and reorient the discipline towards new territories of action.

Your eyes meet with the memory of everything you have heard and this has a huge in uence on your opinion of the place where you live. The summary of your story in a city will have slowly crystallized, not into emotional richness but into a single powerful image known as Supernapoli.

Dessau may be a mere speck on the map, but to this day the city of Bauhaus still occupies the most important place in the development of the New Building - otherwise known as the Neues Bauen - movement. Alongside the Modernist architecture, there is another World Cultural Heritage site which draws in visitors from all over the world to the region, namely the Garden Kingdom of Dessau Woerlitz (Gartenreich Dessau-Woerlitz). In the shape of the Bauhaus Dessau Foundation (Stiftung Bauhaus Dessau) and the Dessau-Woerlitz Cultural Foundation (Kulturstiftung Dessau Woerlitz), two institutions have come together to publish the first comprehensive architectural guide on Dessau-Rosslau and Woerlitz, areas most closely linked to the UNESCO World Heritage sites domiciled there. The eighteenth-century Garden Kingdom of Dessau Woerlitz and the twentieth-century Bauhaus School of Design (Bauhaus Hochschule fur Gestaltung) have not only bequeathed the city and its surrounds inestimable architectural urban and rural properties and spaces, but also an associated intellectual heritage which has made a lasting impact on the world and, last but not least, accounts for the attraction the area holds for tourists. These and other notable historic and contemporary buildings alike are presented in this architectural guide which also raises issues about the nuanced handling of this architectural and cultural legacy and of future planning.

Bridging the gap between architectural theory and professional practice studies, this book offers critical inquiry into the shifting ground of ethical thought in the changing climate of the global economy. Looking at issues of contemporary significance to architectural critics, practitioners, educators, and students, the book also examines the role of the architectural academy in providing an education in ethical judgement. Including transcripts of responses and discussions among its contributors, a broad interdisciplinary set of perspectives are debated and often controversial points of view are put forward.

Interweaving architecture, philosophy and cultural history, Materials and Meaning in Architecture develops a rich and multi-dimensional exploration of materials and materiality, in an age when architectural practice seems otherwise preoccupied with image and visual representation. Arguing that architecture is primarily experienced by the whole body, rather than chiefly with the eyes, this broad-ranging study shows how the most engaging built works are as tactile as they are sensuous, communicating directly with the bodily senses, especially touch. It explores the theme of 'material imagination' and the power of establishing 'place identity' in an architect's work, to consider the enduring expressive possibilities of material use in architecture. The book's chapters can be dipped into, each individual chapter providing close readings of built works by selected modern masters (Scarpa, Zumthor, Williams and Tsien), insights into key texts and theories (Ruskin, Loos, Bachelard), or short cultural histories of materials (wood, brick, concrete, steel, and glass). And yet, taken together, the chapters build to a powerful book-length argument about how meaning accrues to materials through time, and about the need to reinsert the bodily experience of materiality into architectural design. It is thus also, in part, a manifesto: arguing for architecture to act as a bulwark against the tide of an increasingly depersonalised built environment. With insights for a wide range of readers, ranging from students through to researchers and professional designers, Materials and Meaning in Architecture will cause theorists to rethink their assumptions and designers to see new potential for their projects.

This is a scholarly examination of the theoretical work of one of the most important architects of early modern Europe. Trained as a scientist, Wren applied the seventeenth-century scientific methods to his study of ancient, medieval, Renaissance and contemporary architecture. From his study of ancient buildings, he posited a new version of the origins and development of the Classical style, thereby becoming one of the first to challenge theoretical principles of architecture that had been upheld since the Renaissance. Rejecting the idea of beauty as absolute and innate, Wren formulated an empirical definition, based on visual perception and custom. His acceptance of the relativity of beauty also led him to recognize the Gothic style, then disparaged by himself and his contemporaries throughout Europe, as a legitimate one that evolved within particular cultural circumstances. This edition of Wren's writings includes accurate, annotated transcriptions of the texts.