This volume examines one year of research and pedagogy at the University of Virginia School of Architecture, engaged in the conditions of
the built environment, relative to 3 states of Flux, Stasis and Crisis.
The questions we ask are: What is the impact of design on the forces that shape our contemporary reality? To what extent do contingencies of time and place impact our practice, and in return how effective is our response in re-shaping the same contingencies?
Contributions: Ghazal Abbasy-Asbagh, Inaki Alday, Robin Dripps, Rebecca Hora, Ryan Metcalf, Matthew Pinyan
Published with University of Virginia School of Architecture

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.

How do we want to live? How shall we build? Where can we find ideas for the houses and cities of the future? Niklas Maak and Johanna Diehl focus their attention on these highly topical questions in their joint project "Eurotopians". In times of change this volume casts its backward gaze on the work of European utopians in order to find visions for the present. During the 1960s and 1970s visionary architecture was created in Europe which raised fundamental questions about our current ideas of how we should live. Many of these buildings are in ruins and their architects forgotten - although they still live there. Maak visited them and created an "archaeology of the utopian", which shows that important ideas for the world of tomorrow can be found in the ruins. Johanna Diehl has taken impressive photographs of great intensity. In the ruins of these utopias of the modern age she discovered pictures of revolutionary approaches to life which seem surprisingly topical.

In 1840 Sir Thomas Mitchell, Surveyor General of the British Crown, chose a rocky promontory on Sydney harbour for his home. He built a cottage in the style of Gothic Revival, popularised in England by Augustus Welby Northmore Pugin and documented in popular copy books shipped with his baggage from his home country. The house perfectly expresses the imaginative dislocation of European culture into the romantic wilderness. Whether they came out of duty, like Mitchell, or in the hope of opportunity, the European immigrants viewed Australia as a "terra nullius", as an empty land, a vacant space waiting to receive a model of Christian civilisation. It took a century to realise that the dream did not comfortably fit the continent. The story of Australian architecture might be said to parallel the endeavours of Australians to adapt and reconcile themselves with their home and neighbours. It is the story of 200 years of coming to terms with the land: of adaptation, insight and making do. Early settlers were poorly provisioned, profoundly ignorant of the land and richly prejudiced towards its peoples. They pursued many paths over many terrains. From the moist temperate region of Tasmania with heavy Palladian villas to the monsoonal north with open, lightweight stilt houses, the continent has induced most different regional building styles. The buildings included within this guide extend from the first examples of Australian architecture by convict architect Francis Greenway to the works by today's rising generation. It covers not only buildings by such famous architects as Walter Burley Griffin, Harry Seidler, Jorn Utzon, John Andrews, Philip Cox and Glenn Murcutt, but also many high-quality works by less known exponents of the profession. Photographs by the renowned Max Dupain and the present proprietor of his firm, Eric Sierins, including many especially commissioned for this book, support the text. Contributing authors have supplied material where vital local knowledge is essential.

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.

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.

At the beginning of their studies students of architecture are confronted with a wealth of different ways in which to visually present their designs. Expressing ideas in the form of drawings and models is usually required in the early stages of studying: "learning by doing" is the only way for students to quickly develop a repertoire for their design work. However, there are important issues to consider between the phases of devising the spatial concept and recreating it in a two- or three-dimensional drawing or physical model: How to construct a perspective freehand drawing? What plan drawings are necessary to present my design? What scale should my model be and what materials should I use to construct it? Basics Architectural Presentation combines the highly successful single volumes Technical Drawing, Freehand Drawing, CAD, Modelbuilding (new edition) and Architectural Photography from the series BASICS in a new volume. Step-by-step, it conveys possible ways to present architectural projects throughout the various project phases. In an informative and practical approach, the publication discusses the basics of architectural representation from freehand drawing, which is especially important in the design phase, to the plan drawing, model, and architecture photography. The student architect learns the tools necessary for presenting his or her work, supported by many concrete examples and practical tips that are directly applicable.

Our contemporary condition, governed by the abstract apparatus of the capitalist market, demands a critical reading of the distribution, ownership, and use of common resources such as land. This is especially true in Britain with its long history of privatisation stemming from land enclosure. The latest research campaign of Laboratory Basel (laba), a satellite studio of the Ecole Polytechnique Federale de Lausanne, investigated the English manor house and how it can serve as a testing ground to reassess Britain's complex and ongoing relationship with the countryside. The south-west of England, the most rural region of one of the more densely populated countries in Europe, reflects all the absurdities of a globalised country under pressure to develop economically, physically and environmentally. Highly protected landscapes, both natural and composed, form the backdrop to historic seats of political power and wealth, whilst sites of intense modern productivity are neatly concealed behind natural veils. Manor Lessons: Commons Revisited, the concluding volume of laba's Teaching and Research in Architecture series, explores the lessons that can be learned from the compound history of the Manorial System, whose forgotten feudalistic origins were once rooted in the idea of the land, not as private property but as common ground.

The space we live in, reduced to a minimum, has been fascinating us for generations - the writer Thoreau lived in a self-built hut in the forest from 1845 -1847. In 1952, Le Corbusier built a hut at the Cote d'Azur for himself and his wife. Inspired by this, Urs Peter Fluckiger, together with his students, built an ecologically and economically sustainable cabin in the Texan prairie. All three projects share the idea of minimal space and its relationship with the surrounding nature. In text, drawings, and photographs, this book analyses the three projects and shows parallels and similarities. Inspired by Tolstoy's story How Much Land Does A Man Need?, the author asks: "How much house does a man need?", thereby providing a pointed contribution to the current discussion on the requirement for housing.

What do our cities say about us? What have we made them, and how ought they to be? How has our vision of the city evolved over time, and can we really influence change and effect improvements? In this vibrant cultural history of the city, Joseph Rykwert explores the great cities of the modern world, examining their fabric and assessing how successfully they have met the needs of their inhabitants. From the teeming city centres of the industrial revolution to the exclusive gated suburbs of the 21st century, from the Parisian boulevards of Haussmann to the 'green' architecture of Emilio Ambasz, Rykwert charts the complex story of the growth of the city, setting architectural development firmly within a political, economic, social, and cultural context. Drawing on examples from Brasilia to Islamabad, Shanghai to Houston, Rykwert presents a fascinating analysis of urban growth, arguing forcefully that as voters and consumers we need to consider the economic, social, and cultural implications of developments and demonstrate our resistance to them if necessary. The arguments over the future of the Ground Zero site in Manhattan encapsulate the conflicting demands of civic pride and public utility set against private gain that vie for dominance in the 21st century, and exemplify the choices that, as citizens, we must all eventually make.

"We Own the City" examines the ways in which urban dwellers--who used to be merely "clients" of development--are taking ownership of their neighborhoods. Bottom-up initiatives are cropping up around the world, but institutions, government offices and developers often find themselves uncertain how to collaborate with and empower these impassioned citizens and communities. Offering solutions to this disconnect, "We Own the City" analyzes this international trend through five case studies, focusing on Amsterdam, Hong Kong, Moscow, New York and Taipei, each of which discusses different dynamics and intensities of citizens' redevelopment processes. This volume delves into the complexities surrounding the role of today's city-makers and the potential and actual tensions between civil society and government, and it further provides new foundations for inclusive urban development plans which will set the standard for future public governments, housing authorities, architects, town planners and real-estate developers.

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.

First published in 1966, and since translated into 16 languages, this remarkable book has become an essential document in architectural literature. As Venturi's ""gentle manifesto for a nonstraightforward architecture,"" Complexity and Contradiction in Architecture expresses in the most compelling and original terms the postmodern rebellion against the purism of modernism. Three hundred and fifty architectural photographs serve as historical comparisons and illuminate the author's ideas on creating and experiencing architecture. Complexity and Contradiction in Architecture was the winner of the Classic Book Award at the AIA's Seventh Annual International Architecture Book Awards.

Lucien Herve (1910-2007) was one of the great architectural photographers of the 20th century. His methodological and conceptual patterns were reflected in his work, which includes a long collaboration with Le Corbusier. In 1958 he launched the project for a photobook on the monastery of El Escorial commissioned by the RM publishing house in Barcelona, and a year later, during a trip around Spain, a second commission on popular Mediterranean architecture arose. Although they remained unpublished, both works were the object of constant revision by the photographer throughout his life. Sixty years later, both photobooks are published, preceded by specialised texts by architects Javier Mosteiro and Marco Iuliano. The publication is completed by a volume in which Inaki Bergera and art historian Horacio Fernandez offer us an overview of the artist's life and investigate the relationship between these two projects. Text in English and Spanish. Contents: Volume 1: Prefacio / Preface - Judith Herve; Herve en Espana. Blancos y negros, luces y sombras / Herve in Spain. Whites and Blacks, Lights and Shadows; - Inaki Bergera; Rigor y tijeras / Rigueur and Scissors - Horacio Fernandez. Volume 2: Mediterranea / Mediterranean - Marco Iuliano; Arquitectura popular espanola / Spanish Popular Architecture - Lucien Herve. Volume 3: El Escorial, a la luz -y contraluz- de Lucien Herve: imagenes y reflexiones / El Escorial in the Light - and the Backlight - of Lucien Herve: Images and Reflections - Javier Mosteiro; El Escorial - Lucien Herve. Published to accompany an exhibitions at PhotoEspana, Galeria Jose de la Mano, Madrid, from 5 June to 31 July 2019.

"Fit" is a book about architecture and society that seeks to fundamentally change how architects and the public think about the task of design. Distinguished architect and urbanist Robert Geddes argues that buildings, landscapes, and cities should be designed to fit: fit the purpose, fit the place, fit future possibilities. Fit replaces old paradigms, such as form follows function, and less is more, by recognizing that the relationship between architecture and society is a true dialogue--dynamic, complex, and, if carried out with knowledge and skill, richly rewarding.

With a tip of the hat to John Dewey, "Fit" explores architecture as we experience it. Geddes starts with questions: Why do we design where we live and work? Why do we not just live in nature, or in chaos? Why does society care about architecture? Why does it really matter? "Fit" answers these questions through a fresh examination of the basic purposes and elements of architecture--beginning in nature, combining function and expression, and leaving a legacy of form.

Lively, charming, and gently persuasive, the book shows brilliant examples of fit: from Thomas Jefferson's University of Virginia and Louis Kahn's Exeter Library to contemporary triumphs such as the Apple Store on New York's Fifth Avenue, Chicago's Millennium Park, and Seattle's Pike Place.

"Fit" is a book for everyone, because we all live in constructions--buildings, landscapes, and, increasingly, cities. It provokes architects and planners, humanists and scientists, civic leaders and citizens to reconsider what is at stake in architecture--and why it delights us.

Once Upon a China is an unconventional architectural story of great beauty, empathy, honour and sadness. The chapters are ingenious reimaginations of 'Dream of the Red Mansion', 'Journey to the West ', 'The Water Margin', and 'Romance of the Three Kingdoms', and are conceived as specific themes of Chinese identity: domesticity, consumerism, democracy and adaptability. These four seminal pre-modern fictions contain diverse voices and philosophical perspectives on history as well as satires that have defined past developments of Chinese societies, politics and the built environment. Comics is an unorthodox but extraordinary medium for architectural speculations. The eccentric characteristics of comic-inspired drawings in this book enrich the processes of conception and conceptualisation of design - their fragmented yet sequential nature proves versatile in the imagination of spatial experiences, enabling the complex stories of place, brief and building to materialise. At the same time, the politicisation of architecture through comics engenders a sense of optimism to reappraise Chinese design futures and critical thinking beyond the exuberance of non-contextual Western capitalist models.

The purpose of ornament-to articulate a realm of the imagination-is as important as it is misunderstood. Kent Bloomer, an outstanding sculptor and ornamenter whose work adorns the Harold Washington Library, Chicago, Reagan National Airport, Washington, DC, and other buildings, maintains that ornament is neither pure "art" in the contemporary sense of the word nor mere decoration, but rather a category unto itself, with its own unique language. He describes the key elements of ornament, rhythm and metamorphosis, and shows their application in such figures as the foliated scroll. Illustrated with the author's evocative line drawings and photographs of ornament from ancient Greece to the modern cityscape, the book is a hymn to the riches of architectural ornament.

The terms 'analogue architecture' and 'oldnew architecture' are key aspects of the teaching of Miroslav Sik at the ETH Zurich. During his first period there (1983-1991), Sik worked as Senior Assistant at the Chair of Fabio Reinhart and was in effect the spokesman of an architectural movement that became renowned far beyond the borders of Switzerland and is still influential today. In 1986/1991, the compact movement presented itself to the public with a touring exhibition and an accompanying large-scale 'Swiss Box', including chalk perspective drawings of its projects. Miroslav Sik worked as a Full Professor at the ETH Zurich between 1999 and 2018 during his second period there. Since the 1990s, Sik's theory and teaching have formed an important pillar of Swiss and international architectural history. This extensive volume contains the best 90/120 works respectively by students from both periods of Miroslav Sik's teaching, including plans, project descriptions and perspective diagrams. Some of the presented students went on to become renowned contemporary Swiss architects. This volume also includes the most important manifesto-like texts by Miroslav Sik and enlightening essays on the movement of analogue and oldnew architecture.