CARTHA is a non-profit curated platform for sharing different forms of critical thinking regarding architecture and society, founded in 2015. Through opinions, experiences, and works it aims to map the contemporary architectural landscape and to bridge gaps between academic discourse and practical work. Each year CARTHA dedicates to a specific topic. In 2015 the topic was "Relations within the architectural spectrum." This book collects contributions by forty-two young architects from around the world in four sections: Worth Sharing, Confreres, Mannschaft, and Santisima Trinidad. They aim to develop the ways in which architects share, relate to architects, to workers, and to their clients and user of their buildings. Each section features an introductory interview with a renowned architect and a visual exploration by an up-and-coming photographer.

How do we live well? The first sentence of Grace and Gravity raises the fundamental question that constantly occupies our minds—and of all those who lived before us. Paradoxically, the impossibility of answering this question opens up the very room needed to find ways of living well. It is the gap where all disciplines fall short, where architecture does not fit its inhabitants, where economy is not based on shortage, where religion cannot be explained by its followers, and where technology works far beyond its own principles. According to Lars Spuybroek, the prize-winning former architect, this marks the point where the “paradoxical machine” of grace reveals its powers, a point where we “cannot say if we are moving or being moved”. Following the trail of grace leads him to a new form of analysis that transcends the age-old opposition between appearances and technology. Linking up a dazzling and often delightful variety of sources—monkeys, paintings, lamp posts, octopuses, tattoos, bleeding fingers, rose windows, robots, smart phones, spirits, saints, and fossils—with profound meditations on living, death, consciousness, and existence, Grace and Gravity offers an eye-opening provocation to a wide range of art historians, architects, theologians, anthropologists, artists, media theorists and philosophers.

Institutions - the state, the church, the army, the judiciary, the university, the bank, etc.- organise social relations. As social structures, they regulate societies according to various practices, rites and rules of conduct, and guide our actions by delimiting what is possible and thinkable. Institutions' individual scope depends on how the society as a whole understands them. They are in perpetual mutation and thus form complex entities. Architecture plays an essential role in the establishment, identification and perpetuation of this social structure as it formalises value systems in space and represents ideologies in permanent physical structures. Architecture establishes and reveals the way an institution functions through different strategies. Institutions and the City investigates this role of architecture, taking the Trace Royal (King's Street) in Brussels as an example. Running from the Place Royale in the heart of the city to the Eglise Royale Sainte-Marie in the Schaerbeek district north of it, it is the place where several of Belgium's national political, legal, religious, financial, and cultural institutions are located. The book explores the stratagems put in place over time by the various institutions to inscribe themselves durably on the country's social order, and reveals similar spatial responses and surprisingly common mutation processes. And it highlights the importance of architecture when it comes to inventing new relationships with institutional spaces in order to live together better in a time when social, political and cultural reference points are being blurred. Text in English, French and Dutch.

Buildings in Society: International Studies in the Historic Era presents a series of papers reflecting the latest approaches to the study of buildings from the historic period. This volume does not examine buildings as architecture, but adopts an archaeological perspective to consider them as artefacts, reflecting the needs of those who commissioned them. Studies have often failed to consider the historical contexts in which the buildings were constructed and how they were subsequently used and interpreted. The papers in this volume situate their interpretation in their social context. Buildings can inform us about past cultures as they are responsive and evolve to meet people's needs over time. The buildings examined in this volume range from the twelfth to the twenty-first century and cross continents including case-studies from America, Australia and Europe, the United Kingdom, Ireland, Scandinavia and the Mediterranean. Themes include: Approaches to the study of buildings, Buildings of Power, Buildings in Identity, Domestic Space and Urban and Village Spaces. The essays consider building design, role, and how the buildings were altered as their function changed to coincide with the needs and aspirations of those who owned or used the buildings. This collection of papers emphasizes the need for further international multidisciplinary approaches including archaeology, architectural history and art history in order to understand how ideas, styles, approaches and designs spread over time and space. Together, these papers generate valuable new insights into the study of buildings in the historic period.

This volume explores the mathematical character of architectural practice in diverse pre- and early modern contexts.It takes an explicitly interdisciplinary approach, which unites scholarship in early modern architecture with recent work in the history of science, in particular, on the role of practice in the scientific revolution .As a contribution to architectural history, the volume contextualizes design and construction in terms of contemporary mathematical knowledge, attendant forms of mathematical practice, and relevant social distinctions between the mathematical professions.As a contribution to the history of science, the volume presents a series of micro-historical studies that highlight issues of process, materiality, and knowledge production in specific, situated, practical contexts.Our approach sees the designer s studio, the stone-yard, the drawing floor, and construction site not merely as places where the architectural object takes shape, but where mathematical knowledge itself is deployed, exchanged, and amplified among various participants in the building process."

What can political theory teach us about architecture, and what can it learn from paying closer attention to architecture? The essays assembled in this volume begin from a common postulate: that architecture is not merely a backdrop to political life but a political force in its own right. Each in their own way, they aim to give countenance to that claim, and to show how our thinking about politics can be enriched by reflecting on the built environment. The collection advances four lines of inquiry, probing the connection between architecture and political regimes; examining how architecture can be constitutive of the ethical and political realm; uncovering how architecture is enmeshed in logics of governmentality and in the political economy of the city; and asking to what extent we can think of architecture-tributary as it is to the flows of capital-as a partially autonomous social force. Taken together, the essays demonstrate the salience of a range of political theoretical approaches for the analysis of architecture, and show that architecture deserves a place as an object of study in political theory, alongside institutions, laws, norms, practices, imaginaries, and discourses.

The problem of creating affordable, adequate housing for a growing population is not a new one. This book, aimed at anyone with a professional or personal interest in improving housing provision everywhere, aims to inspire by offering in-depth studies of London's housing past and seeks to provide sustainable solutions for the future by linking to wider contemporary historical and social contexts. This book will influence today's housing debates through showcasing lessons from the past and highlights examples that inform the present. The buildings assessed in these case studies will be measured in terms of their longevity, sustained popularity, livability, average densities and productivity. The research and case studies from the book provide an invaluable resource for academics of architecture, urban design, sociology, history and geography as well as professionals, policy makers and journalists.

With the improved efficiency of heating, cooling and lighting in buildings crucial to the low carbon targets of all current governments, "Building Science: Concepts and Applications" provides a timely and much-needed addition to the existing literature on architectural and environmental design education. Taking a logical and didactic approach, the author introduces the reader to the underlying concepts and principles of the thermal, lighting, and acoustic determinants of building design in four integrated sections.

The first section explores the thermal building environment and the principles of thermal comfort, translating these principles into conceptual building design solutions. The author examines the heat flow characteristics of the building envelope and explains steady state design methods that form the basis of most building codes. He discusses the sun as a natural heat source and describes the principles of active and passive solar building design solutions.

The second section introduces the scientific principles of light, color, and vision, stressing the importance of daylight in building design, presenting the Daylight Factor design concept and methodology, and discussing glare conditions and their avoidance. It also addresses artificial lighting, delving into the prominent role that electricity plays in the production of light by artificial means and comparing the efficacy and characteristics of the various commercially available light sources in terms of the energy to light conversion ratio, life span, available intensity range, color rendition properties, and cost.

The third section deals with the various aspects of sound that impact the design of the built environment, discussing the nature of sound as a physical force that sets any medium through which it travels into vibration and laying the foundations for the treatment of sound as an important means of communication as well as a disruptive disturbance.

The final section discusses the foundational concepts of ecological design as a basis for addressing sustainability issues in building design solutions. These issues include the embedded energy of construction materials, waste management, preservation of freshwater and management of graywater, adoption of passive solar principles, energy saving measures applicable to mechanical building services, and the end-of-lifecycle deconstruction and recycling of building materials and components.Covers the fundamental building science topics of heat, energy, light and soundTakes a logical and didactic approach, tracing the historical roots of building scienceIncludes summaries of new technologies in solar energy and photovoltaic systemsFeatures a section on the principles of sustainable architectureWebsite with answers to MC questions testing students' learning

READERS OF EUROPEAN HISTORY WILL LOVE THIS GIFT! "Simon Jenkins has provided a feast for both eyes and mind in this sumptuously illustrated guide to Europe's greatest cathedrals" John Barton, author of A History of the Bible "As ever, Simon Jenkins is here the best sort of guide to some of Europe's greatest buildings and their settings: well-informed, elegantly opinionated and passionate" Diarmaid MacCulloch, author of Christianity: The First Three Thousand Years __________________________ Europe's cathedrals are magnificent. They outstrip palaces and castles. They are the most sensational group of structures anywhere in the world - which everyone should 'see before they die'. They are also hugely popular, most of them absolutely packed. They are humankind's greatest creations. In Europe's 100 Best Cathedrals, Simon Jenkins has travelled the continent - from Chartres to York, Cologne to Florence, Toledo to Moscow and Stockholm to Seville - to illuminate old favourites and highlight new discoveries. Beautifully illustrated with colour photographs throughout, this joyous exploration of Europe's history tells the stories behind these wonders, showing the cathedral's central role in the European imagination. Readers will be inspired to make their own pilgrimage to all one hundred of them.

Since the first edition of this book, geometrical methods in the theory of ordinary differential equations have become very popular and some progress has been made partly with the help of computers. Much of this progress is represented in this revised, expanded edition, including such topics as the Feigenbaum universality of period doubling, the Zoladec solution, the Iljashenko proof, the Ecalle and Voronin theory, the Varchenko and Hovanski theorems, and the Neistadt theory. In the selection of material for this book, the author explains basic ideas and methods applicable to the study of differential equations. Special efforts were made to keep the basic ideas free from excessive technicalities. Thus the most fundamental questions are considered in great detail, while of the more special and difficult parts of the theory have the character of a survey. Consequently, the reader needs only a general mathematical knowledge to easily follow this text. It is directed to mathematicians, as well as all users of the theory of differential equations.

This book is Michele Saee's life's work. A collection of projects, built, unbuilt, conceptual, and experimental which expands over more than three decades. There are over 50 projects in different cities and countries, with different programs, scales or sizes all over the world. This book is about an architect's journey of discoveries; a fluid emotional exercise in life, love, work, and architecture, providing a tool for growth. The book is designed by the creative Chinese designer Xingyu Wei (Weestar) and his team in Beijing. There are hand and computer sketches, drawings, and model studies of different stages of their development-from the conception of the projects in their early stages through the process of their creation. The introduction is by the iconic French architect Claude Parent. In addition, there are two essays written by American architect Eric Owen Moss, responsible for some of the most iconic LA architecture, and by architect Nick Gillock, theoretical writer and co-founder of lookinglass studio.

The Fragile Monument is a study of the discourse of conservation and its effect on the notion and role of the monument in contemporary western society. Through a revisionist account of the history of conservation, the book explores how the monument has been transformed from an object that originally communicated permanence to an object that is perceived as fragile and in need of protection. The argument put forward is that the expansion and popularisation of conservation is bound to a narrative of loss and danger that reveals a paradoxical relationship between destruction and preservation. In a series of case-studies the book shows how spatial devices have been used to negotiate this paradox and how this use of space has contributed to the defining of the monument as an object of conservation. Throughout its history, conservation has been surrounded by a polemic dominated by concepts of authenticity, origin and authorship. By studying that debate in relation to the case-studies, The Fragile Monument adumbrates the implications these concepts carry with them, both for the discipline of conservation and for the discourse of architecture as a whole. Identifying and examining particular 'sites of conflicts' where critical uncertainty, ambivalence, and heated debates have surrounded the 'object' of restoration, The Fragile Monument contributes significantly to expanding and shifting architectural discourse into a direction of crucial relevance today.

This book presents a critical and aesthetic defence of "non-place" as an act of cultural reclamation. Through the restorative properties of photography, it re-conceptualises the cultural significance of non-place. The non-place is often referred to as "wasteland", and is usually avoided. The sites investigated in this book are located where access and ownership are often ambiguous or in dispute; they are places of cultural forgetting. Drawing on the author's own photographic research-led practice, as well as material from photographers such as Ed Ruscha, Joel Sternfeld and Richard Misrach, this study employs a deliberately allusive intertexuality to offer a unique insight into the contested notions surrounding landscape representation. Ultimately, it argues that the non-place has the potential to reveal a version of England that raises questions about identity, loss, memory, landscape valorisation, and, perhaps most importantly, how we are to arrive at a more meaningful place.

What is more important in architectural works--their form, shape, and color, or the meanings and symbolism that can be associated with them? Can aesthetic judgments of architecture be independent of the stories one can tell about buildings? Do non-architects perceive buildings in the same way as do architects?

For the greater part of the twentieth century it was common to respond to these and similar questions by relying on psychological theories asserting there is no innocent eye, that we think only in language, and that human visuality results from preexisting, conceptual knowledge. Dramatic breakthroughs in philosophy and psychology over the past two decades, however, have shown us that human visuality functions for the most part independently of conceptual thinking and language.

This book examines the ways in which new theories of human visuality create a different understanding of architectural design, practice, and education. This new understanding coincides with and supports formalist approaches to architecture that have become influential in recent years as a result of the digital revolution in architectural design.

In its history of over a hundred of years, landscape architecture has developed many ideas, concepts, methods, and models. In this issue, LA Frontiers focuses on prototype studies by examining those traceable and repeatable landscape theories, methodologies, and pedagogies, and introducing the knowledge from allied disciplines to inspire knowledge innovation, with a particular highlight on the prototypes adaptive to future uncertainties. It hopes to extend the disciplinary horizon and enrich the fruition of disciplinary growth, and to provide designers and scholars with prospective design thoughts and more resilient working methods. This issue explores the following aspects: First, prototyping process, or test planning process, which is characterised for the test-planning-design process and has been widely applied in the fields of computer sciences and industrial design but still being less explored in landscape architecture. This process emphasises the multi-disciplinary collaboration and test procedure before design, which would improve the communication efficiency among professionals from different fields. Second, reflection and innovation on classic theories and models in landscape planning and design, such as Ian McHarg's Map Overlay and Carl Steinitz's Six Steps model. Third, research-based design, including design research or competitions with clear goals and boundary conditions which help designers comprehend the essence and implications of design and encourage disciplinary innovation. And fourth, inductive and empirical pedagogies to inspire forward-looking design ideas and working methods.

In "Frontier Fictions," Firoozeh Kashani-Sabet looks at the efforts of Iranians to defend, if not expand, their borders in the nineteenth and early twentieth centuries, and explores how their conceptions of national geography influenced cultural and political change. The "frontier fictions," or the ways in which the Iranians viewed their often fluctuating borders and the conflicts surrounding them, played a dominant role in defining the nation. On these borderlands, new ideas of citizenship and nationality were unleashed, refining older ideas of ethnicity.

Kashani-Sabet maintains that land-based conceptions of countries existed before the advent of the modern nation-state. Her focus on geography enables her to explore and document fully a wide range of aspects of modern citizenship in Iran, including love of homeland, the hegemony of the Persian language, and widespread interest in archaeology, travel, and map-making. While many historians have focused on the concept of the "imagined community" in their explanations of the rise of nationalism, Kashani-Sabet is able to complement this perspective with a very tangible explanation of what connects people to a specific place. Her approach is intended to enrich our understanding not only of Iranian nationalism, but also of nationalism everywhere.

A vision of the city as a web of interactive, informational networks that turn our world into a prison-house of illusory transcendence. "Where does the city without gates begin? Perhaps inside that fugitive anxiety, that shudder that seizes the minds of those who, just returning from a long vacation, contemplate the imminent encounter with mounds of unwanted mail or with a house that's been broken into and emptied of its contents. It begins with the urge to flee and escape for a second from an oppressive technological environment, to regain one's senses and one's sense of self." -from Lost Dimension Originally written in French in 1983, Lost Dimension remains a cornerstone book in the work of Paul Virilio: the one most closely tied to his background as an urban planner and architect, and the one that most clearly anticipates the technologically wired urban space we live in today: a city of permanent transit and internalized borders, where time has overtaken space, and where telecommunications has replaced both our living and our working environments. We are living in the realm of the lost dimension, where the three-dimensional public square of our urban past has collapsed into the two-dimensional interface of the various screens that function as gateways to home, office, and public spaces, be they the flat-screen televisions on our walls, the computer screens on our desktops, or the smartphones in our pockets. In this multidisciplinary tapestry of contemporary physics, architecture, aesthetic theory, and sociology, Virilio describes the effects of today's hyperreality on our understanding of space. Having long since passed the opposition of city and country, and city and suburb, the speed-ridden city and space of today are an opposition between the nomadic and the sedentary: a web of interactive, informational networks that turn our world into a prison-house of illusory transcendence.

Rob Krier is a unique voice in today's architectural discourse through his commitment to developing a relevant and pragmatic theory of architecture based on his own experience and observations of architectural practice and opposed to the easy, abstract theorising so common in contemporary architectural writing. Together with his brother Leon, he has perfected a form of presentation in which the potency of his thinking finds its perfect counterpoint in detailed drawings and sketches which argue his case visually through the power of example. Following the success of his widely acclaimed "Urban Space", a work which looked at the problems of our cities from a historical, theoretical and practical standpoint, Krier now applies his particular, highly influential mode of didactic criticism to contemporary architecture in continuing search for fundamental architectural truths. Architectural Composition is both a theoretical and visual analysis which clearly illustrates the creative process which informs Krier's vision and praxis. The culmination of a lifetime's thought and experience by one of Europe's most important architectural theorists, it is without doubt a major achievement and is a standard work of reference for both students and practising architects. The book, published for the first time in 1988 by Academy Editions in London, has been supported by funds from the Fond zur Foerderung der wissenschaftlichen Forschung der Republik OEsterreich, and it was carried out at Krier's former Institut fur Gestaltungslehre at the Technische Universitat in Vienna.

The making of shadows is an act as old as architecture itself. From the gloom of the medieval hearth through to the masterworks of modernism, shadows have been an essential yet neglected presence in architectural history. Shadow-Makers tells for the first time the history of shadows in architecture. It weaves together a rich narrative - combining close readings of significant buildings both ancient and modern with architectural theory and art history - to reveal the key places and moments where shadows shaped architecture in distinctive and dynamic ways. It shows how shadows are used as an architectural instrument of form, composition, and visual effect, while also exploring the deeper cultural context - tracing differing conceptions of their meaning and symbolism, whether as places of refuge, devotion, terror, occult practice, sublime experience or as metaphors of the unconscious. Within a chronological framework encompassing medieval, baroque, enlightenment, sublime, picturesque, and modernist movements, a wide range of topics are explored, from Hawksmoor's London churches, Japanese temple complexes and the shade-patterns of Islamic cities, to Ruskin in Venice and Aldo Rossi and Louis Kahn in the 20th century. This beautifully-illustrated study seeks to understand the work of these shadow-makers through their drawings, their writings, and through the masterpieces they built.

Crosses disciplinary boundaries to explore German Romantic writing about visual experience and the interplay of text and image in Romantic epistemology. The work of the groundbreaking writers and artists of German Romanticism -- including the writers Tieck, Brentano, and Eichendorff and the artists Caspar David Friedrich and Philipp Otto Runge -- followed from the philosophical arguments of the German Idealists, who placed emphasis on exploring the subjective space of the imagination. The Romantic perspective was a form of engagement with Idealist discourses, especially Kant's Critique of Pure Reason and Fichte's Science of Knowledge. Through an aggressive, speculative reading of Kant, the Romantics abandoned the binary distinction between the palpable outer world and the ungraspable space of the mind's eye and were therefore compelled to develop new terms for understanding the distinction between "internal" and "external." In this light, Brad Prager urges a reassessment of some of Romanticism's major oppositional tropes, contending that binaries such as "self and other," "symbol and allegory," and "light and dark," should be understood as alternatives to Lessing's distinction between interior and exterior worlds. Prager thus crosses the boundaries between philosophy,literature, and art history to explore German Romantic writing about visual experience, examining the interplay of text and image in the formulation of Romantic epistemology. Brad Prager is Associate Professor of Germanat the University of Missouri, Columbia.