This book examines the 'window' in the life and work of the seminal architectural thinker Christian Norberg-Schulz (1926 - 2000). It draws new attention to his architectural designs and re-examines his acclaimed theoretical work on the phenomenology of architecture and place within the context of a biography of his life, linking him with other historical figures such as Helen Keller and Rainer Maria Rilke, and framing him within the modernist tradition of the latter. Taking a novel, experimental approach, the book also explores the potential of the essay-film as an innovative new approach to producing architectural history. Bridging archival research and artistic exploration, its ten chapters, written by an architectural historian who is also a film-maker, are each accompanied by a short documentary film, hosted online and linked from within the chapter, which use the medium of film to creatively explore and delve deeper into little-known aspects of Norberg-Schulz's theory of genius loci and the phenomenology of architecture. The book questions what it means to 'follow' those who came before, exploring the positionality of the architectural historian/filmmaker. Offering an insightful account of the life, work, and theory of a key thinker, Following Norberg-Schulz is also essential reading for those interested in practice-led research methodologies, particularly in the practice of film-making and the essay film, providing a highly innovative example of scholarly research which bridges the text-film gap.

"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.

Parangole is an annual, independent journal that challenges ideas on urbanization, design and architecture by initiating a global dialogue on topics such as mobility, migration, fluidity and multiplicity. The journal expands on the cultural, social and political significance of what it means to live in the city. The title of the magazine pays homage to the work of Brazilian artist Helio Oiticica, extending his central tenet that "life is movement" from the body to the city. The first issue of Parangole, titled Motherland, focuses on the space of habitation for those who live in precarious and transitory conditions due to economic hardship, conflict, and violence. People on the move face unique challenges and vulnerabilities that must be identified and addressed in urban settings. With Motherland, researchers and practitioners are brought together to think about these issues and their solutions.

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.

Why some architects fail to realize their ideal buildings, and what architecture critics can learn from novelists. The usual history of architecture is a grand narrative of soaring monuments and heroic makers. But it is also a false narrative in many ways, rarely acknowledging the personal failures and disappointments of architects. In Bleak Houses, Timothy Brittain-Catlin investigates the underside of architecture, the stories of losers and unfulfillment often ignored by an architectural criticism that values novelty, fame, and virility over fallibility and rejection. As architectural criticism promotes increasingly narrow values, dismissing certain styles wholesale and subjecting buildings to a Victorian litmus test of "real" versus "fake," Brittain-Catlin explains the effect this superficial criticality has had not only on architectural discourse but on the quality of buildings. The fact that most buildings receive no critical scrutiny at all has resulted in vast stretches of ugly modern housing and a pervasive public illiteracy about architecture.

Created for children but designed by adults with considerable ingenuity, architectural toys have long offered a window on a much larger world. In Architecture in Play, Tamar Zinguer explores the two-hundred-year period over which such playthings have reflected changing attitudes toward form, structure, and permanence, echoing modernist experiments and stylistic inclinations in fascinating ways while also incorporating technological advances in their systems of construction. Zinguer's history of these toys reveals broader social and economic trends from their respective periods. Focusing on four primary building materials (wood, stone, metal, and paper), Zinguer discusses four important construction sets: Friedrich Froebel's Gifts (1836)--cubes, spheres, and cylinders that are gradually broken down to smaller geometrical parts; Anchor Stone Building Blocks (1877), comprising hundreds of miniature stone shapes that yield castles, forts, and churches; Meccano (1901) and the Erector Set (1911), including small metal girders to construct bridges and skyscrapers mimetic of contemporary steel structures; and The Toy (1950) and House of Cards (1952), designed by Charles and Ray Eames, which are lightweight cardboard ""kits of parts"" based on methods of prefabrication. Used in the intimacy of the domestic environment, a setting that encouraged the eradication of formal habits and a reconceiving of visual orders, architectural toys ultimately intimated notions of the modern. Amply illustrated and engagingly written, this book sheds valuable light on this fascinating relation between household toys and the deeper trends and ideas from which they sprung.

Generational dialogues between 40 world-renowned creatives exploring how the creative legacy of previous generations is being reinterpreted over time. What is this phenomenon we call 'legacy'? This intangible inheritance that we eventually leave for our posterity? Is it the creative and intellectual heritage that one generation passes on to the next? Conceived by Lukas Feireiss, the book at hand tries to probe this open question by engaging in critical dialogue different generations of creatives, connectors and thinkers alike. In some cases, between inherent legacy of parent and child, in many cases between mentor and students, or simply between friends. The more than 40 illustrious contributors to this dialogue derive from an array of fields of knowledge and experience. Their stories often provide very personal insights into their work and life. They also reveal a broader perspective on the overall realms of art, design, architecture, music, literature, photography and curation in the 20th and 21st century. With contributions by Olafur Eliasson and Einar Thorsteinn, Lukas Feireiss and Ai Weiwei, Charlie and Rem Koolhaas, Francesca Gavin and Kerry James Marshall, Sophie Lovell and Dieter Rams, Hans-Ulrich Obrist and Yona Friedman, Shumon Basar and Ken Adam, Carson Chan and Phyllis Lambert, Rachel and Daniel Libeskind, Andres Ramirez and Denise Scott Brown, Aric Chen and Arata Isozaki, Ahmir Questlove Thompson and George Clinton and many more.

Swedish-American architect Lars Lerup's writings suggest a mindful collector as their author, rather than a scholar or a theoretician. Lerup sharply observes and analyses his urban environment and its properties, before adding his findings to his own theory of the modern city. Lerup wrote the fourteen essays in this new book as self-contained pieces, yet together they still form a coherent entity. The fourteen essays in The Continuous City offer a survey of Lerup's thinking on identity and monumentality are the relationship between nature and culture. His interest and reflections focus, among other things, on Roberto Burle Marx, a founder of modern landscape design; the 'dancing floors' of Rem Koolhaas's Seattle Central Library; Herzog & de Meuron's 1111 Lincoln Road project in Miami Beach; and the character of urban icons like Coop Himmelb(l)au's Dalian International Conference Center. Lars Lerup invites his readers to join him on his journey and to be enriched, rather than instructed, en route.

In this age of ever-increasing environmental awareness, the issue of sustainability is set to become the dominant factor in architectural design. At a time when, like most professions, architectural practice is increasingly governed by legal guidelines and requirements, competing policy demands require architects to aim for economic, social and environmental sustainability whilst also trying to effect social progress. Sustaining Architecture in the Anti-Machine Age asks whether these two ambitions can be reconciled.

Featuring contributions from architects, journalists, academics and legal consultants, the book takes a balanced look at the subject, giving the full range of sometimes opposing views. Examining all the key issues, it considers why the industrial development of town and country is considered unsustainable rather than socially imperative, and whether the aim of raising the level, standard and performance of arhcitectural production conflicts with the promotion of sustainability.

Over the last decade the profession and practice of architecture has changed rapidly. Sir Michael Latham's 'Constructing the team' and Sir John Egan's 'Rethinking Construction' attempted to turn the building industry from labour-intensive trade contracting the capital intensity of manufacturing. Paul Hyett, the current president of the Royal Institue of british architects, has a mandate to establish an environmental duty of care. Sustaining Architecture in the Anti-Machine Age considers what these initiatives mean for architects.

Throughout history, nature has served as an inspiration for architecture and designers have tried to incorporate the harmonies and patterns of nature into architectural form. Alberti, Charles Renee Macintosh, Frank Lloyd Wright, and Le Courbusier are just a few of the well- known figures who have taken this approach and written on this theme. With the development of fractal geometry -the study of intricate and interesting self- similar mathematical patterns -in the last part of the twentieth century, the quest to replicate nature's creative code took a stunning new turn. Using computers, it is now possible to model and create the organic, self-similar forms of nature in a way never previously realised. In Fractal Architecture, architect James Harris presents a definitive, lavishly illustrated guide that explains both the ""how"" and ""why"" of incorporating fractal geometry into architectural design.

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.

This book explores experimental approaches to the design and construction of wooden structures in architecture, while presenting the results of an artistic research project. Through the use of digital tools, the anatomy of wood becomes a design-determining principle for spatial structures. The architects and artists also explore the potential of traditional craftsmanship and derive from this a material-oriented practice. Structures are not designed here for a specific use, but rather open up various usage possibilities due to their unique spatial and geometric properties. The documentation provides insight into an open-ended research process. Guest contributions reflect on the underlying concepts and thus the future relevance of wood as a building material.

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.

Josep Lluis Mateo is one of Spain's leading architects and one of Europe's most influential intellectuals. He runs a firm called mateoarquitectura in Barcelona, which has designed buildings in many countries such as Spain, Portugal, Germany, France, the Netherlands and Switzerland. Alongside his work as guest lecturer, Mateo was Professor of Design at the Federal Institute of Technology (ETH) Zurich from 2002 to 2014. Mateo's standing as a pacesetter in the international intellectual discourse about the future of architecture is closely tied to the journal Quaderns d'Arquitectura i Urbanisme, which has appeared in Catalan, Spanish and English since 1985 and of which he was editor-in-chief between 2002 and 2014. Under Matteo, it developed into the leading platform for discussions on architectural issues, urban design, and aesthetic concepts. Footprints: Writings 2005-2020 collects his most important texts from the last fifteen years - short and longer essays and vignettes, along with interviews touching on questions about the elements, environmental and urban contexts, as well as on Matteo's own designs. The texts are illustrated and arranged thematically, to allow the juxtaposition to inspire new connections. Text in Spanish.

In 1984 President Ronald Reagan gave NASA the go-ahead to build a Space Station. A generation later, the International Space Station is an established and highly successful research centre in Earth orbit. The history of this extraordinary project is a complex weave of powerful threads - political, diplomatic, financial and technological among them - but none is more fascinating than the story of its design. This book provides the first comprehensive account of the Station's conception, design, development and assembly in space. It begins in 1979 with early NASA concepts based on the use of the Space Shuttle and ends with the final Space Shuttle mission in 2011. As a highly accessible chronicle of a complex piece of design and engineering, it is a book that will appeal to readers far beyond the space field.

Shows in hundreds of illustrations, diagrams, and photographs what it is that makes an artful facade, so that readers are equipped to design beautiful, meaningful buildings Discusses proportional systems, the language of composition, how to use precedents, the importance of context, the role of structure, and much more Nontechnical approach will ground readers in the basics of how architecture expresses meaning by looking at both historic and contemporary buildings

Architecture Stuff is about a way of looking at architecture. It examines 7 seminal projects and shows how they might have been conceived with or without the design architect's awareness. More a working method than a theory, the book deals with questions pertinent to designers as well as to critics of buildings. More Stuff then illustrates how the same sensibility and working method can be used in the design of buildings as a tool for creating architecture. The 7 buildings featured are chosen for their breadth of styles and approaches to architecture, demonstrating that this approach to architecture can be applied to any building. Presented in reverse chronological order, the first project, Grace Farms, is a building by SANAA. Noted for its meandering river form and minimalist detailing, it is seen to be - among other things - a juxtaposition of orthogonal and sinuous forms. The second project is Villa Dall Ava by Rem Koolhaas/OMA. Located in the suburbs, the house is a transition from city to country. The third project is the Neue Staatsgalerie by James Stirling. The analysis shows how the 'bad boy' of architecture subverts conventional architectural tropes. Robert Venturi's Mother's House is shown to be a compressed stately manor and an architect's conceit. The Kimbell Art Museum by Louis Kahn can be understood as simple repetitive forms with elaborated elements that organize a diverse collection of spaces. Pierre Chareau's Maison de Verre is much more than types of transparency and mechanisation. One of its major themes is the use of 'L' shaped spaces. Finally, St George's Bloomsbury by Nicholas Hawksmoor is a parish church swallowed by a classical temple. The critique exposes how the architect used that idea to juxtapose the clerical and the civic to develop all of the details in the building. These are not singular idea buildings and, as a way of seeing architecture, there are overlapping themes in this collection. The history of architecture of specific periods is a common theme, as is architecture's stasis with spaces expanding or contracting. A dry sense of humour is always appreciated. What separates these buildings from any other building is the density of ideas presented. More Stuff accounts for the same working methods as a way to make architecture. Here the author illustrates eleven projects across the span of his career. Though often done in collaboration with others, in all cases the author generated the design ideas. One of the key aspects of architecture stuff is that it is unpretentious and accessible and these projects are meant to illustrate that quality. Architecture can be serious and playful at the same time.

Matthias Stange untersucht die Auswirkungen der Anwendung von Building Information Modelling (BIM) im Planungs- und Bauprozess aus planungsoekonomischer Perspektive. Ziel der Untersuchung ist es, die aus zahlreichen qualitativen Studien abgeleiteten Verbesserungspotentiale durch die Anwendung der BIM-Methode anhand realer Projektdaten im globalen Kontext zu uberprufen. Mit quantitativen Methoden analysiert der Autor Primardaten aus weltweit 105 Bauprojekten der Bereiche Wohnbau, Gewerbebau, Industriebau, Infrastruktur- und Wasserbau. Dabei wird dem Einfluss des projektbezogenen BIM-Reifegrades besondere Beachtung eingeraumt.

"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

It has been shown that spatial perception can be improved through practice. Opportunities to offer such practice are offered in this workbook, which was tested by nearly one thousand architecture students before publication, and emerged from an academic study funded by the Swiss National Science Foundation, conducted jointly by the Zurich University of Applied Sciences (ZHAW) and the ETH Zurich. The book contains 75 exercises that work with architectural elements but can be mastered without prior knowledge, plus a section with solutions and explanatory texts by experts from theory and practice by M. Berkowitz, D. Dietz, B. Emo, A. Gerber, Chr. Hoelscher, P. Holgate, St. Kurath, C. Leopold, D. Schulz, Th. & N. Shipley, E. Stern, D. Uttal.

Platform 8 catalogs a curated selection of work generated in the past year at the Harvard University Graduate School of Design. Alongside final products of design education, Platform 8 places particular emphasis on collecting and documenting the people and artifacts that shape research-driven design practices. Here, design is presented both as process and as a final product. The book s indexical structure, punctuated with a collection of portraits, presents a comprehensive picture of the school. Platform 8 shows the intention, direction, and passion seen and experienced every day at the GSD.