This innovative study of memorial architecture investigates how design can translate memories of human loss into tangible structures, creating spaces for remembering. Using approaches from history, psychology, anthropology and sociology, Sabina Tanovic explores purposes behind creating contemporary memorials in a given location, their translation into architectural concepts, their materialisation in the face of social and political challenges, and their influence on the transmission of memory. Covering the period from the First World War to the present, she looks at memorials such as the Holocaust museums in Mechelen and Drancy, as well as memorials for the victims of terrorist attacks, to unravel the private and public role of memorial architecture and the possibilities of architecture as a form of agency in remembering and dealing with a difficult past. The result is a distinctive contribution to the literature on history and memory, and on architecture as a link to the past.

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.

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.

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.

Space: it's everywhere, all around, a given. It's abstract and yet not abstract at all, because it governs all human relations, shapes the way we understand our place on the planet, and orients us toward others (for better and for worse). How do theatre scholars understand space and place in performance? What tools do they use to theorize the political work space does on - and beyond - the stage? How can students use these tools to unpack the workings of space and place in the performances they see, the plays they study, and the experiences they have outside their classrooms? Theory for Theatre Studies: Space provides a comprehensive introduction to the 'spatial turn' in modern theatre and performance theory, exploring topics as diverse as embodied space, environmental performance politics and urban performance studies. The book is written in accessible prose and features in-depth case studies of Platform's audio walk And While London Burns, Katie Mitchell's Fraulein Julie, Young Jean Lee's The Shipment, and Evalyn Parry and Laakkuluk Williamson Bathory's Kiinalik: These Sharp Tools. TfTS: Space begins with fresh readings of historical dramatic theory, discusses twentieth-century theoretical trends at length, and ends by asking what it will take (and what work is already underway) to decolonize the Western, settler-colonial stage. Online resources to accompany this book are available at: www.bloomsbury.com/uk/theory-for-theatre-studies-space-9781350006072/

This book gathers 14 architects, designers, performing artists, film makers, media theorists, philosophers, mathematicians and programmers. They all argue that matter in contemporary posthuman times has to be rethought in its rich internal dynamism and its multifaceted context. By transversally crossing disciplinary boundaries, new and profound insights into contemporary thinking and creating architecture emerge. Combining the dynamism of materiality and the capacities of nonhuman machines towards prototyping spatiotemporal designs and constructs leads to alternative conceptions of the human, of ethics, aesthetics and politics in this world yet-to-come.

This extensive, edited volume investigates how architects, planners, and other related experts responded to the contexts and discourses of "development" after WWII. The essays encompass countries as diverse as Israel, Ghana, Greece, Belgium, France, India, Mexico, the United States, Venezuela, the Philippines, South Korea, Sierra Leone, Singapore, Turkey, Cyprus, Iraq, Zambia, and Canada. The subject matter is increasingly taught as part of a broader turn to globalize the field of architecture studies, incorporating hitherto unacknowledged geographies primarily from the global south, with a focus on how architecture production is part of technical, economic, and political processes.

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 extraordinary mysteries of the pyramids - revealed From the development of monumental architecture around 3,000 BC to the fabulous edifices that rose up from the desert plains of Giza, these are amongst the most remarkable structures in world history. Their story has given rise to a set of incredible legends: spaceships, ley lines, mysterious goings on... Is it fact or fiction? Joyce Tyldesley, writer, lecturer and broadcaster on Ancient Egypt, cuts away modern myth and prejudice to reveal the truth behind these astonishing structures. The Old Kingdom pharaohs believed that death was the beginning of eternal life. To help them on their way they built pyramids; huge ramps or stairways charged with the most potent magic, leading directly to the sky. Pyramids chronicles how and why Egypt's pharaohs built on so grand a scale, and shows how the pyramids helped to build Egypt itself. ‘A fascinating survey… For anyone who wants to know about pyramids, this is required reading’ Spectator ‘Tyldesley sets out to fill the gap between Egyptologists’ reserve, the excesses of tour guides and misinformed traditions… [she] should be required reading.’ Sunday Times

A building cannot be good to look at if it is unplanned, with its parts totally unrelated to one another; but on the other hand if the arrangement is too regular it becomes boring and dull. The object of architectural proportion is to strike the balance between these extremes, creating an interesting visible order by the repetition of similar shapes. In this book, first published in 1958, Mr Scholfield deals with the history of the theory of proportion, and in doing so develops his own positive theory, which reconciles the apparent contradictions of rival systems and serves as a key to historical understanding. Even when he is dealing with complex themes, Mr Scholfield's exposition can be followed by the uninitiated reader. Those already interested in architecture and the visual arts will certainly want the book; and those who are not will find, on reading it, that their interest is stimulated.

Since the construction of the first skyscrapers in the nineteenth century, urban environments have been increasingly marked by verticality. The experience of modernity fed a spatialised lexicon derived from the sense of balance - 'groundlessness', 'suspension' and 'freefall' - which resonates acutely today. At a time of instability, the rise and rise of vertical cities poses new challenges to the perception of gravity, but the implications of vertigo remain unacknowledged. This book reflects on the precarious equilibrium at the heart of contemporary cities, where the drive to conquer ever greater heights has reconfigured our notion of abyss. Through an interdisciplinary approach informed by social and medical sciences, the book explores how built environments elicit a range of spatial thrills as well as anxieties. On Balance first provides an overview of how the modern discourse on vertigo has permeated the sciences, arts and humanities. The second part of the book shifts the attention to spatial practices predicated on the mastery of vertigo such as climbing and wire walking. The final part moves into the realm of architectural culture, offering an original reading of modern and contemporary spaces that affect our perceptual stability. Since the turn of millennium, urban environments have been increasingly turned into gravity playgrounds as new and existing buildings alike furnish the stages for visceral thrills. On Balance argues that, within the experience economy, architecture has become a site for games of vertigo. The loss of grounding is not only an inherently spatialised experience, but one that is bound up with the design and representation of space. Hence, this book provokes up to consider architecture as deeply implicated in our perception of balance at multiple sensory, spatial and social levels.

This book proposes alternative interpretations of broadly-debated concepts within architectural modernity. Bringing into view the work of lesser-known architects from across the globe, alongside previously unexplored aspects of mainstream masters of the Modern, Rethinking Modernity puts forward a compelling case for the range and diversity of architectural projects encompassed by this term. Exploring themes such as the use of colour, materials, ornament, local traditions and identities, Rethinking Modernity challenges readers to build a better understanding of a crucial moment in architectural history, and of design trends shaping the present-day production of the built environment. Complementing the RIBA Publishing titles Redefining Brutalism and Revisiting Postmodernism, this book sits within a series of books aiming to explore new interpretations of well-loved architectural movements, richly illustrated with rarely-seen archive photography and lesser-known projects. Offers a comprehensive review of modernity, discussing its various strands through less typical case studies, rich and original visual material (photographs, redrawn plans, and spatial diagrams), as well as descriptions Illustrates the range of possibilities the umbrella term of Modernity encompasses, questioning stereotypical definitions and proposing alternative descriptions Offers a window onto lesser-known architectural figures of the modern alongside mainstream masters of the Modern Explores both historical modernity globally and its connection with present-day trends

The general reading public is likely to think of architecture as buildings. But, with this book, Robert Steinberg would like to help readers understand that architecture shapes lives. Architecture can help communities integrate and thrive. Architecture can touch us, influencing how we feel, and how we interact with others. In short, architecture can fundamentally improve our quality of life. As a young graduate architect fresh from Berkeley, Steinberg began to discover the potential of architecture to shape communities. Working with his father, an architect who had studied with Mies van der Roe (and whose father was also an architect), one of Steinberg's first projects was to draft and redraft a parking garage in downtown Silicon Valley, CA. As he mediated between the two architects in charge of the project - his father and the city architect - he noticed that with each evolution, the garage became more beautiful and refined. And with each improvement, this garage became more able to succeed in the goal of reviving the dying downtown core of Silicon Valley. The garage was a huge success, and Steinberg began to codify what he had learned. Thanks to the garage, he wrote the first of what would become the 9 Realities of Architecture: Architecture is the Pursuit of Perfection - a magnificent take-away from a humble parking garage project. As Steinberg eventually rose to become CEO of his firm and grew it into a global practice with six regional offices including Austin and New York, and a major office in Shanghai, he used his drive for creating thriving communities to eventually touch the lives of countless people around the world.

Extrastatecraft is the operating system of the modern world: the skyline of Dubai, the subterranean pipes and cables sustaining urban life, free-trade zones, the standardized dimensions of credit cards, and hyper-consumerist shopping malls. It is all this and more. Infrastructure sets the invisible rules that govern the spaces of our everyday lives, making the city the key site of power and resistance in the twenty-first century. Keller Easterling reveals the nexus of emerging governmental and corporate forces buried within the concrete and fiber-optics of our modern habitat. Extrastatecraftwill change how we think about cities-and, perhaps, how we live in them.