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.

A place of incarceration and liberation, political debate and historical denial, the H Block cell units of Long Kesh/Maze prison in Northern Ireland housed members of both Republican and Loyalist military groups during 'The Troubles' and are now considered 'icons' of that conflict. The H Block's dual status as an articulation of and resistance against power mean that the area is still one of the most contested sites of conflict in Europe. Based on a long-standing site-specific investigation, and drawing on a range of sources from architectural plans to photographs of street protests, H Blocks explores the material relationship between the prison as a built articulation of power and its inhabitants, highlighting the ethical and political roles that architecture can play in situations of conflict. It also addresses the afterlife of such sites after the end of conflict and how they can adapt to the changing cultural meanings of their space. The book demonstrates how the conflicted histories of the prison are configured in its design and destruction, and the inhabitation and attempted preservation of the site itself, revealing how its architecture is bound up with questions of power and resistance, embodiment and attachment, witnessing and remembering, the materiality of history and its commodification.

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.

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

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.

Italian gardens have received more attention from historians than perhaps any other garden tradition. This volume presents eight richly illustrated essays by established and emerging scholars that suggest striking new directions for future research.

Mirka Benes and Raffaella Fabiani Giannetto examine the long historical development and disciplinary diversity of Italian garden studies. Marcello Fagiolo and Vincenzo Cazzato advance a new theory of villa systems that enlarges the geographical frame of the field. Mauro Ambrosoli highlights the contributions of anonymous laborers and gardeners in the creation of the countryside, while Lionella Scazzosi shows how this broader view of agency informs decisions by policymakers regarding the restoration and maintenance of historical gardens. Antonella Pietrogrande and Denis Ribouillault offer new interpretations of some of the most famous Renaissance sites through analyses of cultural imagination and modes of perception.

This volume exemplifies the broad transformations, both quantitative and methodological, taking place in the study and practice of garden design, and offers a reflective meditation on the vitality of one of the oldest branches of garden and landscape history.

Frederick Kiesler was a committed networker and communicated regularly with the who’s who of the avant-garde. He was an important intermediary between the visionary ideas of the European Moderne movement and the up-and-coming New York art scene. About 20 contributions portray his colorful life and his multifaceted oeuvre in various contexts, and place Kiesler in a dialog with the most important artists and architects of his time. The publication on the occasion of the 20 year anniversary of the Friedrich Kiesler Foundation deals with his relationship with the Bauhaus, surrealism, and the New York School, as well as with personalities such as Richard Buckminster Fuller, Marcel Duchamp, Arshile Gorky, Theo van Doesburg, Piet Mondrian, Hans Arp, Sigfried Giedion, and others.

The Atelier de la Conception de l'Espace (ALICE), affiliated with the School of Architecture at the Ecole Polytechnique Federale de Lausanne, is an educational facility focusing on preparing students for the practice of architecture. To cultivate the ability to create or shape space, students must be confronted with an educational framework that prepares them for the field's many practical challenges, from cultural, social, environmental, and physical concerns to working with the wide range of collaborators who must bring their creativity and expertise together in the design process. The second volume in a four-part series on ALICE, The House 1 Catalogue focuses on a prototype, House I, developed and constructed throughout the academic year. This mobile structure incorporates ALICE's core values of communication and collaboration in building processes, and it will travel as part of an exhibition to several major cities, where it will be continually modified and reconfigured. With five hundred illustrations, this book continues the experimental narrative Dieter Dietz, Matthias Michel, and Daniel Zamarbide began in The Invention of Space, which will be further developed in the forthcoming third and fourth volumes in the series. ALICE plays a key role in the success of one of Europe's leading schools of architecture, and this book, together with the three other volumes in the series, provides an opportunity to explore the exceptional learning environment ALICE offers.

"Professor Wittkower's....studies of humanist architecture are masterpieces of scholarship."-Sir Kenneth Clark, Architectural Review.

A fourth edition of the forty-year-old classic.

Focusing on the principal architects of that time-from Alberti to Palladio-this bestselling classic explains the true significance of certain architectural forms, bringing to light the connections between the architecture and culture of the period. With publication scheduled to coincide with that of Architectonics of Humanism, this important reference is superbly reproduced in a new, large square format.

The late RUDOLF WITTKOWER was a college professor and eminent scholar residing in London, England.

For his entire professional life, British architect Cedric Price (1934-2003) reflected on the mechanisation of society and its effect on people's lives. In the 1960s and 1970s Price searched for a new language in modern architecture. His multifaceted, interdisciplinary approach and his sense of humour and self-irony, also with regard to his own profession, lead him into the fields of art and of social and natural sciences. Tanja Herdt's new book on the work and life of Cedric Price for the first time offers a comprehensive demonstration of his architectural concepts and social visions. Herdt focuses on his view of the city as a socio-technical system, the influence of product and everyday culture on architecture, and the role of science and technology in architectural design. Based on extensive research and drawing from rich and largely unpublished material, she features some of Price's well-known projects, such as Fun Palace (1961) or Potteries Thinkbelt (1964), in context with her new findings. Herdt's thorough analysis of his lesser-known works from the 1970s, including McAppy (1973-1975) and The Generator (1976), also questions the common perception of Cedric Price as an "anti-architect".

"Deeply historical and comparative, Mauro Guillen shows how a neo-institutionalist and social movement analysis complement each other as he explains the emergence and rise to prominence of modernist architecture. Systematic in its use of data, the book is nuanced in its analysis. He examines the several strains of modernism and subtly explains why modernism takes hold in some countries, but not others. An excellent analysis of aesthetics and the transformation of the profession of architecture."--Mayer Zald, University of Michigan

"When Frederick Winslow Taylor was hectoring the workers of the Bethlehem Iron Works to greater productivity, who would have guessed that this stolid, obsessive Philadelphian would inspire visionary aesthetic movements across the European continent? Mauro Guillen interrogates the surprising affinity between scientific management and architectural modernism until it yields both engrossing narrative and analytic insight. Combining the skills of the comparative historian with those of the detective, he follows his quarry around the globe, demonstrating the consistent connection between Taylorism and modernist architecture. In so doing he has produced what will be at once an important contribution to the history of architecture and a landmark study in the sociology of culture."--Paul DiMaggio, Princeton University

"Conventional wisdom is that scientific management's effects have been largely negative in moral and aesthetic terms. Guillen proposes that it has given rise to a distinctive artistic form associated with a new moral ethic and sensibility. The attempt to link theories of organizing and artistic styles is novel and should be of interest to studentsof culture and society generally."--W. Richard Scott, Professor Emeritus of Sociology, Stanford University

"Guillen documents with a profusion of information the influence of scientific management on the architects who played an important part in the emergence of modern architecture. He has mustered an impressive array of sources, including many primary sources on Latin American architecture that are almost never considered in the canonical literature."--Magali Sarfatti Larson, Professor of Sociology, Temple University

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.

Somewhere between 1910 and 1970, architecture changed. Now that modern architecture has become familiar (sometimes celebrated, sometimes vilified), it's hard to imagine how novel it once seemed. Expensive buildings were transformed from ornamental fancies which referred to the classical and medieval pasts into strikingly plain reflections of novel materials, functions, and technologies. Modern architecture promised the transformation of cities from overcrowded conurbations characterised by packed slums and dirty industries to spacious realms of generous housing and clean mechanised production set in parkland. At certain times and in certain cultures, it stood for the liberation of the future from the past. This Very Short Introduction explores the technical innovations that opened-up the cultural and intellectual opportunities for modern architecture to happen. Adam Sharr shows how the invention of steel and reinforced concrete radically altered possibilities for shaping buildings, transforming what architects were able to imagine, as did new systems for air conditioning and lighting. While architects weren't responsible for these innovations, they were among the first to appreciate how they could make the world look and feel different, in connection with imagery from other spheres like modern art and industrial design. Focusing on a selection of modern buildings that also symbolize bigger cultural ideas, Sharr discusses what modern architecture was like, why it was like that, and how it was imagined. Considering the work of some of the historians and critics who helped to shape modern architecture, he demonstrates how the field owes as much to its storytellers as to its buildings. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

Does the recent explosion of the architectural manifesto signal a new urgency of the form, or does it represent a hopeless effort to resuscitate something that has outlived its useful lifespan? "After the Manifesto" brings together architects and scholars to revisit the past, present and future of the manifesto. In what ways have manifestos transformed the field over the last 50 years, and in what ways has the manifesto itself been transformed by new modes of communication? New writing by Ruben Alcolea, Craig Buckley, Beatriz Colomina, Carlos Labarta, Felicity D. Scott, Bernard Tschumi, Anthony Vidler, Enrique Walker and Mark Wigley is interwoven with key manifesto documents from the last 100 years, by Antonio Sant'Elia, Archigram, Constant, Le Corbusier, Yona Friedman, Hans Hollein, Kazimir Malevich, Kisho Kurokawa, Alexander Rodchenko, Superstudio, Aldo van Eyck, Ludwig Mies van der Rohe, Robert Venturi, Lebbeus Woods, Bernard Tschumi and Tristan Tzara, among others.

This book explores breathing and the atmosphere as leitmotifs for the design of an inclusive future in a new climate regime, uncovering intertwinements of societal activities with the air and the atmosphere. With this awareness of entanglement, the deeply performative characteristics of the air, atmosphere and climate are foregrounded and can be discovered as central agents in the conception and design of our planetary existence. This carefully edited collection brings together renowned authors from various disciplines, and their ideas, observations, and examples inspire us to rethink our forms of social action and design. With contributions by: Bruno Latour Eva Horn, Heather Davis David Life, Bronislaw Szerszynski Jean-Paul Thibaud Gernot Bo hme Peter Sloterdijk Rosetta Sarah Elkin Wolfgang Kessling Anja Thierfelder Matthias Schuler Toma s Saraceno Klaus K. Loenhart

This book is a series of curated essays by high-profile architecture and design leaders and educators on the topic of professionalism. The book first sets out the current agenda - defining professionalism for the architecture sector - before moving on to focus on delivering the increased professional skills curriculum content within architecture schools as set by the RIBA. With an introduction and conclusion by the Editors, this book explores what contemporary professionalism within architecture is, and its future, encouraging the current and future profession to address professionalism across the industry.

"Offers an intense scholarly experience in its comprehensiveness, its variety of voices and its formal organization... the editors took a risk, experimented and have delivered a much-needed resource that upends the status-quo." - Architectural Histories, journal of the European Architectural History Network "Architectural theory interweaves interdisciplinary understandings with different practices, intentions and ways of knowing. This handbook provides a lucid and comprehensive introduction to this challenging and shifting terrain, and will be of great interest to students, academics and practitioners alike." - Professor Iain Borden, UCL Bartlett School of Architecture "In this collection, architectural theory expands outward to interact with adjacent discourses such as sustainability, conservation, spatial practices, virtual technologies, and more. We have in The Handbook of Architectural Theory an example of the extreme generosity of architectural theory. It is a volume that designers and scholars of many stripes will welcome." - K. Michael Hays, Eliot Noyes Professor of Architectural Theory, Harvard University The SAGE Handbook of Architectural Theory documents and builds upon the most innovative developments in architectural theory over the last two decades. Bringing into dialogue a range of geographically, institutionally and historically competing positions, it examines and explores parallel debates in related fields. The book is divided into eight sections: Power/Difference/Embodiment Aesthetics/Pleasure/Excess Nation/World/Spectacle History/Memory/Tradition Design/Production/Practice Science/Technology/Virtuality Nature/Ecology/Sustainability City/Metropolis/Territory. Creating openings for future lines of inquiry and establishing the basis for new directions for education, research and practice, the book is organized around specific case studies to provide a critical, interpretive and speculative enquiry into the relevant debates in architectural theory.

Invitation to Vernacular Architecture: A Guide to the Study of Ordinary Buildings and Landscapes, is a manual for exploring and interpreting vernacular architecture, the common buildings of particular regions and time periods. Thomas Carter and Elizabeth Collins Cromley provide a comprehensive introduction to the field. Proposing a methodology, Invitation to Vernacular Architecture provides a systematic approach to vernacular architecture fieldwork. The authors walk readers through the process of examining and documenting a building, explaining in detail how to define a research area and create a research plan. They guide students step-by-step in how to take accurate measurements of sites and of building exteriors and interiors and explain what to look for at each level. They show how to find patterns and how to organize information to yield sound interpretations of buildings' meanings. As a complement to this practical approach, Carter and Cromley present current scholarship on vernacular architecture and explain the need for a broad theoretical perspective. They show how analysis of facts related to a building can reveal important insights into the behavior and culture of people who lived in a certain area at a certain time. The authors then present a single ordinary house as a case study to explore the different points of view that scholars have brought to the study of vernacular architecture. Rich with illustrations and written in a clear and jargon-free style, Invitation to Vernacular Architecture is an ideal text for courses in architecture, material culture studies, historic preservation, American studies, and history, and a useful guide for anyone interested in the built environment.

The most famous monument of the Dutch Golden Age is undoubtedly the Amsterdam Town Hall by architect Jacob van Campen inaugurated in 1655. Today we stand in awe confronted with the grand Classicist facade, the delightful horror of the sculptures in the Tribunal, and the magnificence of the huge Citizens' Hall. In the period of its construction, many artists and writers tried to capture the overwhelming impact of the building by, among other comparisons, relating it to the ancient Wonders of the World and by stressing its splendour, riches, and impressive scale. In doing so, they constructed the Town Hall as the ultimate wonder, thus offering a silent, but very powerful testimony to the power and position of the City of Amsterdam and its rulers as equals of the other European regimes. To fully understand these mechanisms of power, this book relates the Town Hall to other, impressive buildings of the same period-the palace of the Louvre, Saint Peter's Basilica, and Banqueting House-and their visual and textual representations. Thus, this book gives a broad audience of readers new insights into the agency of magnificent buildings. The Amsterdam Town Hall in Words and Images does not restrict itself to a national scope or a purely architectural analysis, but clarifies how artists and writers all over Europe presented buildings as wonders of the world. This book is pioneering in its analysis of seventeenth and eighteenth-century paintings, prints, drawings, poems, and travel accounts and offers a new understanding of how the wondrous character of these grand buildings was constructed.

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.

Building Socialism reveals how East German writers' engagement with the rapidly changing built environment from the mid-1950s to the early 1970s constitutes an untold story about the emergence of literary experimentation in the post-War period. It breaks new ground by exploring the centrality of architecture to a mid-century modernist literature in dialogue with multiple literary and left-wing theoretical traditions and in tune with international assessments of modernist architecture and urban planning. Design and construction were a central part of politics and everyday life in East Germany during this time as buildings old and new were asked to bear heavy ideological and social burdens. In their novels, stories, and plays, Heiner Muller, Christa Wolf, Gunter Kunert, Volker Braun, Gunter de Bruyn, and Brigitte Reimann responded to enormous new factory complexes, experimental new towns, the demolition of Berlin's tenements, and the propagation of a pared-down modernist aesthetic in interior design. Writers' representation of the design, construction, and use of architecture formed part of a turn to modernist literary devices, including montage, metaphor, and shifting narrative perspectives. East Germany's literary architecture also represents a sophisticated theoretical reflection on the intractable problems of East Germany's socialist modernity, including the alliance between state socialism and technological modernization, competing commitments to working-class self-organization and the power of specialist planners and designers, and the attempt to create an alternative to fascism.

Children are the future architects, clients and users of our buildings. The kinds of architectural worlds they are exposed to in picture books during their formative years may be assumed to influence how they regard such architecture as adults. Contemporary urban environments the world over represent the various stages of modernism in architecture. This book reads that history through picturebooks and considers the kinds of national identities and histories they construct. 12 specialist essays from international scholars address questions such as: Is modern architecture used to construct specific narratives of childhood? Is it taken to support 'negative' narratives of alienation, on the one hand, and 'positive' narratives of happiness, on the other? Do images of modern architecture support ideas of 'community'? reinforce 'family values'? If so, what kinds of architecture, community and family? How is modern architecture placed vis-a-vis the promotion of diversity (ethnic, religious, gender etc.)? How might the use of architecture in comic strips or the presence of specific kinds of building in fiction aimed at younger adults be related to the groundwork laid in picturebooks for younger readers? This book reveals what stories are told about modern architecture and shows how those stories affect future attitudes towards and expectations of the built environment.

Modern Construction Case Studies focuses on the interface between the design of facades, structures and environments of 12 building projects, all developed by Newtecnic. The Author compares facade technologies, particularly in the way they interface with structure and MEP (mechanical, electrical, plumbing services) in complex projects, to provide insights into the design process for building envelopes. Each envelope technology is described with an emphasis on one of three aspects: geometry, construction and performance. The analysis links the 12 case studies by comparing their structural and environmental performance. The aim is achieved by analyzing typical bays which are representative of each project and which illustrate the implications of using different building envelope technologies.