The first book to address all of the myriad issues surrounding this topic, from a wide range of well-positioned scholars, edited by vastly experienced and influential editors A vital resource book for institutional leaders, Architecture Heads of School and Programme leaders, architecture educators, particularly those responsible for curricula content, design briefs, module handbooks and reading lists, and students. Contributions from South Africa, Nigeria, Chile, Indonesia, Cambodia, Palestine, Mexico, Sudan, Qatar, Kuwait, Brazil, USA, Egypt, Singapore, Malaysia, Uganda, Thailand, Philippines, Australia, Botswana, Bahrain, India, Ethiopia, New Zealand, Japan, Belgium, Ecuador, China and Costa Rica and 200 illustrations.

This book examines the manifestations of architecture, cities, and design processes within digital culture. Adopting a comparative and critical method, the author looks at past and present encounters of the digital with architectural discourse and practice. Along three central themes - machines, networks, and computation - the book begins by discussing transformations of the analogy between architecture and the machine since the early twentieth century, foregrounding questions about the relations between architecture, humans, machines, and the environment. It moves on to the city, to observe how big data and smart city sustainable management systems have transformed historical visions of global networked cities. Lastly, it explores computational design thinking historically and in the context of complex systems, as well as the latest technical, social, and economic developments. Exposing possible drawbacks while still focusing on what is radically innovative, this book proposes a way toward more liberating, digital, and sustainable futures for architecture. An important read for architecture students, academics, and professionals, this book connects instances of digital architecture practice and discourse throughout the history of the digital culture paradigm and their ties with sociopolitical developments. It shares the possibility that these connecting lines may be the canvas for a novel architectural history of the recent past.

This book will present original and comprehensive research on the political dimension of space. Part of a growing body of literature starting to look more closely at the links between politics and space through a diverse range of thematics (including but not limited to: security, surveillance, geographies of governmentalities, migration, displacement, social movements, urban commons, post-colonialism, biopolitics, violence, war, militarism, activism, gender and queer theory, social participation, contested cultural heritage, mass media, political economy of space, digital space and big-data)

This book examines the central decades of Peter Eisenman's work through a formal and thematic analysis of key architectural projects and writings, revealing underlying characteristics and arguing for their productive continuity and transformative role. The book explores Eisenman's approach to architectural form generation and thinking. It does this through a thematic and formal analysis of projects and writings from the mid-1970s to the mid-1990s. Following an introductory chapter addressing the theme of potentialities, the book is organised in two parts. The first part focuses on key period writings of Eisenman, framing the close reading around a practice of resistance, the architect's approach to history as analysis, and the transformative conceptualisation of time. In the second part, the book undertakes an analysis of select projects from the 1980s and 1990s. Three formal preoccupations and conceptual orientations - ground manipulations, figuration, and spatial events - organise this part of the book. Previously unpublished material from the Peter Eisenman fonds, Canadian Centre for Architecture, Montreal, provides primary source material. A concluding chapter addresses Eisenman's teaching, its relation to his larger project, and possible legacies for educators, practitioners, scholars, and theorists.

This volume explores the interconnected social, sustainable and spatial principles that underpin the design of more environmentally conscientious buildings and places, illustrated through models, drawings and images of selected key projects by the award-nominated London-based architecture practice Mae. Each project outlines beneficial strategies for creating more sustainable designs, achieving social equity and working within our planet's limits to elevate the human spirit in the long-term. This book posits strategies to design buildings and places that enrich culture and society, offering insight from researchers and practitioners, as well as richly illustrated documentation of key architectural schemes that put these principles into practice. It is a call to arms for ways to create more environmentally regenerative architecture, applying its ideas to architectural practice worldwide.

The Place of Silence explores the poetics and politics of silence in architecture. Bringing together contributions by internationally recognized scholars in architecture and the humanities, it explores the diverse practices, affects, politics and cultural meanings of silence, silent places and silent buildings in historical and contemporary contexts. What counts as silence in specific situations is highly relative, and the term itself carries complex and varied significations which make it a revealing field of study. Chapters explore a range of themes, from the apparent 'loss of silence' in the contemporary urban world; through designed silent spaces; to the forced silences of oppression, catastrophe, or technological breakdown. The book unfolds a rich and complementary array of perspectives which address - through the lens of architecture and place - questions of sound, atmosphere, and attunement, together building a volume which will form the key scholarly resource on architecture and silence.

Theories and Practices of Architectural Representation focuses on the study of architectural knowledge approached through the lens of representation: the making of things-about-buildings. Architectural knowledge systems continue to shift away from traditional means, such as books and photographs, into modes dominated by digital technologies. This shift parallels earlier ones developed by craftspeople into the knowledge of painters and writers, or shifts from manually produced knowledge into the mode of photography and film. These historical shifts caused profound disruptions to established patterns, and in general the shift currently underway is no different. This book considers essential questions including: How does architecture become known? How is knowledge about architecture produced, structured, disseminated, and consumed? How in particular do historical patterns of knowledge production persist within contemporary culture and society? How are these patterns affected by changes in technology, and how does technology create new opportunities? These questions are examined through five chapters dealing with exemplary buildings and representational methods selected from worldwide locations including the United States, Japan, and Italy. Theories and Practices of Architectural Representation proposes that historical theories and practices of architectural representation remain distinct, robust, and uniquely viable within the context of rapidly changing technologies. It is an essential read for students of architectural theory of representation.

Phenomenology, Materiality, Cybernetics, Palimpsest, Cyborgs, Landscape Urbanism, Typology, Semiotics, Deconstruction - the minefield of theoretical ideas that students must navigate today can be utterly confusing, and how do these theories translate to the design studio? Landscape Theory in Design introduces theoretical ideas to students without the use of jargon or an assumption of extensive knowledge in other fields, and in doing so, links these ideas to the processes of design. In five thematic chapters Susan Herrington explains: the theoretic groundings of the theory of philosophy, why it matters to design, an example of the theory in a work of landscape architecture from the twentieth and twenty-first centuries, debates surrounding the theory (particularly as they elaborate modern and postmodern thought) and primary readings that can be read as companions to her text. An extensive glossary of theoretical terms also adds a vital contribution to students' comprehension of theories relevant to the design of landscapes and gardens. Covering the design of over 40 landscape architects, architects, and designers in 111 distinct projects from 20 different countries, Landscape Theory in Design is essential reading for any student of the landscape.

* Broad coverage - chapters critically explore architectural theory through a diverse range of lenses. * Timely - the book makes the subject of architectural theory relevant to contemporary practice and issues of the present day e.g. environmental crises, artificial intelligence, and social inequity. * Written and edited by experts in their field.

Now that information technologies are fully embedded into the design studio, Instabilities and Potentialities explores our post-digital culture to better understand its impact on theoretical discourse and design processes in architecture. The role of digital technologies and its ever-increasing infusion of information into the design process entails three main shifts in the way we approach architecture: its movement from an abstracted mode of codification to the formation of its image, the emergence of the informed object as a statistical model rather than a fixed entity and the increasing porosity of the architectural discipline to other fields of knowledge. Instabilities and Potentialities aims to bridge theoretical and practical approaches in digital architecture.

Architecture is a Verb outlines an approach that shifts the fundamental premises of architectural design and practice in several important ways. First, it acknowledges the centrality of the human organism as an active participant interdependent in its environment. Second, it understands human action in terms of radical embodiment-grounding the range of human activities traditionally attributed to mind and cognition: imagining, thinking, remembering-in the body. Third, it asks what a building does-that is, extends the performative functional interpretation of design to interrogate how buildings move and in turn move us, how they shape thought and action. Finally, it is committed to articulating concrete situations by developing a taxonomy of human/building interactions. Written in engaging prose for students of architecture, interiors and urban design, as well as practicing professionals, Sarah Robinson offers richly illustrated practical examples for a new generation of designers.

Peter Eisenman is one of the most controversial protagonists of the architectural scene, who is known as much for his theoretical essays as he is for his architecture. While much has been written about his built works and his philosophies, most books focus on one or the other aspect. By structuring this volume around the concept of form, Stefano Corbo links together Eisenman's architecture with his theory. From Formalism to Weak Form: The Architecture and Philosophy of Peter Eisenman argues that form is the sphere of mediation between our body, our inner world and the exterior world and, as such, it enables connections to be made between philosophy and architecture. From the start of his career on, Eisenman has been deeply interested in the problem of form in architecture and has constantly challenged the classical concept of it. For him, form is not simply a cognitive tool that determines a physical structure, which discriminates all that is active from what is passive, what is inside from what is outside. He has always tried to connect his own work with the cultural manifestations of the time: firstly under the influence of Colin Rowe and his formalist studies; secondly, by re-interpreting Chomsky's linguistic theories; in the 80's, by collaborating with Derrida and his de-constructivist approach; more recently,by discovering Henri Bergson's idea of Time. These different moments underline different phases, different projects, different programmatic manifestos; and above all, an evolving notion of form. Taking a multi-disciplinary approach based on the intersections between architecture and philosophy, this book investigates all these definitions and, in doing so, provides new insights into and a deeper understanding of the complexity of Eisenman's work.

In the era of the Anthropocene, site matters are more pressing than ever. Building on the concepts, theories, and multi-disciplinary approaches raised in the first edition, this publication strives to address the changes that have taken place over the last 15 years with new material to complement and re-position the initial volume. Reaching across design disciplines, this highly illustrated anthology assembles essays from architects, landscape architects, urban designers, planners, historians, and artists to explore ways to physically and conceptually engage site. Thoughtful discourse and empirically grounded pieces combine to provide the language and theory to contextualize the meanings of site in the built environment. The increasingly complex hybridity of constructed environments today demands new tools for thinking about and working with site. Drawing contributions from outside and within the traditional design disciplines, this edition will trace important developments in site thinking with new essays on topics such as climate change, landscape as infrastructure, shifts from global to planetary urbanization debates, and the proliferation of participatory site transformation practices. Edited by two leading practitioners and academics, Site Matters juxtaposes timeless contributions from individuals including Elizabeth Meyer, Robert Beauregard, and Robin Dripps with original new writings from Peter Marcuse, Jane Wolff, Neil Brenner, and Thaisa Way, amongst others, to recontextualize and reignite the debate around site. An ideal text for students, academics, and researchers interested in site and design theory.

Flourishing from 1951 to 1965, the Philadelphia School was an architectural golden age that saw a unique convergence of city, practice, and education, all in renewal. And it was a bringing together of architecture, city and regional planning, and landscape architecture education under the leadership of Dean G. Holmes Perkins. During that time at the architecture school at the University of Pennsylvania (known as the Graduate School of Fine Arts or GSFA), Louis Kahn and Robert Venturi were transforming modern architecture; Romaldo Giurgola was applying continental philosophy to architectural theory; Robert Le Ricolais was building experimental structures; Ian McHarg was questioning Western civilization and advancing urban and regional ecology; Herbert Gans was moving into Levittown; and Denise Scott Brown was forging a syncretism of European and American planning theory and discovering popular culture. And in the city, Edmund Bacon was directing the most active city planning commission in the country. This book describes the history of the school, the transformation of the city of Philadelphia, and the philosophy of the Philadelphia School in the context of other movements of the time, and looks at what the Philadelphia School has to offer to architecture today and in the future, all from the point of view of a student who was there.

Architectural Affects after Deleuze and Guattari is the first sustained survey into ways of theorising affect in architecture. It reflects on the legacy and influence of Gilles Deleuze and Felix Guattari in the uptake of affect in architectural discourse and practice, and stresses the importance of the political in discussions of affect. It is a timely antidote to an enduring fixation on architectural phenomenology in the field. The contributors offer a variety of approaches to the challenges presented in discussing the relation between affect and architecture, and how this is contextualised in the broader field of affect studies. Ranging from evaluations of architectural and urban productions and practices, to inquiries into architectural experience, to modes of affective inquiry in education, to experimental affective writing, each contribution to this seminal volume suggests ways of developing a more sustained approach to a crucial thematic domain. The volume will be of use to students at both undergraduate and postgraduate levels; researchers, theorists and historians of architecture and related urban and spatial disciplines; the fields of social science and cultural theory; and to philosophy, in particular the studies of Deleuze and Guattari, and Baruch Spinoza.

The Victorian Art School documents the history of the art school in the nineteenth century, from its origins in South Kensington to its proliferation through the major industrial centres of Britain. Charles Rennie Mackintosh's Glasgow School of Art, together with earlier examples in Manchester and Birmingham demonstrate an unprecedented concern for the provision of plentiful light and air amidst the pollution of the Victorian city. As theories of design education and local governance converged, they also reveal the struggle of the provincial city for cultural independence from the capital. Examining innovations in the use of new technologies and approaches in the design of these buildings, The Victorian Art School offers a unique and explicitly environmental reading of the Victorian city. It examines how art schools complemented civic 'Improvement' programmes, their contribution to the evolution of art pedagogy, the tensions that arose between the provincial schools and the capital, and the role they would play in reimagining the relationship between art and public life in a rapidly transforming society. The architects of these buildings synthesised the potential of art with the perfection of the internal environment, indelibly shaping the future cultural life of Britain.

"Derham Groves has written this illuminating story of an exceptional but hitherto unsung Australian architect whose distinctive designs in China as well as his homeland may still be seen and enjoyed. In this book Groves has for the first time revealed some characteristic strands of Arthur Purnell's talents, whereby his subject's remarkable creativity is now clear for us to enjoy." - Robert Irving, architecture historian and pupil of Arthur Purnell Arthur Purnell's 'Forgotten' Architecture: Canton and Cars focuses on two early phases in the career of the much overlooked and underrated Australian architect, Arthur Purnell (1878-1964). In 1903, Purnell teamed up with the American engineer, Charles Paget (1874-1933) in Canton, China. Between 1903 and 1910, Purnell and Paget designed many important and impressive buildings, including the Arnhold, Karberg & Co. building (1907), one of the first reinforced concrete buildings in Southern China, and the South China Cement Factory (1907), which would later become the headquarters of Dr. Sun Yatsen (1866-1925), the first president of the Republic of China. Not many architects can design a cement factory fit for a president's palace! When Purnell returned to Australia in 1910, he had to start again from scratch. As cars were taking over from horses in a big way, he saw that designing for cars would be the next big thing in architecture. The fledgling Australian car industry was full of colourful, larger-than-life characters like Col. Harley Tarrant (1860-1949), who built his first car in 1897 and Australia's first petrol-fuelled car in 1901, and Alec Barlow Sr. (1880-1937), the archetypal dodgy car salesman. Purnell wanted in, designing many buildings for both men, including early car factories and car showrooms. In this unique book, Groves asks: why isn't Arthur Purnell more famous?

Illustrated by the author to give a sense of the spaces discussed. Clinical examples throughout. Academically rigorous as well as relevant to professionals.

Treatise on digital architecture Hovestadt's treatise strictly follows the model of the famous treatises by Vitruvius (De architectura) and Alberti (De re aedificatoria), based on the supposition that we find ourselves in a comparable situation today. Vitruvius and Alberti expressed the meaning of architecture in their eras: Roman antiquity and the Renaissance. Hovestadt has done the same for the present day, incorporating considerations of physics, mathematics, technology, literature, and philosophy. Books I to III deal with the role of the architect and the objectivity of architecture. Books IV to VI address the modalities of speaking about and encoding architecture: the secret, the public, and the private. Books VII to X are dedicated to actual digital mechanisms: artificial intelligence, natural communication, gnomonics, and cultural heritage. An architectural treatise for our age in 10 books Inspired by the works of Vitruvius and Alberti Published in three volumes in the Applied Virtuality Book Series, Vol. 19, 20, and 21

Architecture and ekphrasis examines how eighteenth-century prints and drawings of antique architecture operated as representations of thought. Using original archival material, it considers the idea of the past in the period, specifically how it was discovered and described, and investigates how space and time inform visual ekphrasis or descriptions of architecture. The idea of embodiment is used to explore the various methods of describing architecture - including graphic techniques, measurement and perspective - all of which demonstrate choices about different modes of ekphrasis. This well-illustrated, accessibly written study will be of interest to academics and students working in a broad range of subject areas. It will also be an essential teaching tool for increasingly popular cross-disciplinary courses. -- .

Responding to increasing levels of planetary pollution, waste generation, carbon dioxide emission and environmental collapse, Ecologies of Inception re-thinks potentiality-an object's ability to change-in architecture and design. The book problematizes the still-prevailing modern paradigm of design practice: the technical tabula rasa, a tendency to begin from scratch and use raw, amorphous, and obedient materials that can be easily and effectively manipulated, facilitating a seamless and faithful embodiment of intentions. Instead, the philosophy of design developed in the text prompts-through a variety of case studies, thinkers, and disciplines-a collective reconsideration of value, dissociating it from the projects and signatures of any one author or generation. Whereas the merits of up-cycling and circular design are canonically defined vis-a-vis status-quo economic and socio-cultural orthodoxies, this project unpacks the theoretical assumptions that underpin these practices, showing that they perpetuate the same biases and exclusions that generate waste in the first place. As an alternative, the book introduces a nodal and exaptive paradigm for design: a conceptual and methodological toolset for engaging the durational and anthropocenic materiality of the third millennium, and for radically prioritizing practices of maintenance, reuse, care, and co-option. This approach, which is inspired by (and builds upon) evolutionary biology, technological disobedience, queer use, adaptive reuse, experimental preservation, and improvisational practices such as collage, adhocism, bricolage, and kit-bashing, refuses to reduce pre-existing material substrates to abstract lists of properties or featureless lumps, encountering them on their own terms-as situated individuals and co-authors. Ecologies of Inception will appeal to undergraduate and postgraduate students, educators, and professional architects and designers interested in sustainable design and seeking to develop conceptual and design tools commensurate with the magnitude and urgency of the climate emergency.

The only text available that can be used as a productive introduction and framework for teaching, learning about and researching home. Written in a manner that is well received and accessible to undergraduates, yet also contains sophisticated ideas for researchers. New edition will retain and further develop its core argument about a critical geography of home It will significantly update the references, examples, research boxes and illustrations in each chapter, critically engaging with the wide cross-disciplinary range of research in this field since its publication. The second edition will address existing and new themes in greater depth, including home and temporality, the 'un-making' of home, home beyond the West, and home and religion. It will also include a new chapter on 'Home and the city,' New research boxes throughout the book will highlight recent and ongoing doctoral and postdoctoral research on home. A new cover image will better reflect the book's content and make it clear that it is a second edition.

This book presents a study into the art of Jiangnan classical garden. Jiangnan ("the south of the Yangtze River") refers to the water network region along the lower reaches of the Changjiang River (formerly known as Yangtze River), where Jiangsu Province Chinese gardens were primarily constructed during the 16th and 17th centuries of the later Ming and early Qing dynasties. The Jiangnan garden, an architectural space where artificial and natural elements are combined, represents the elite of classical Chinese gardens and serves as a prime exemplar for its northern counterpart, the Ming and Qing imperial gardens. The book pursues an interdisciplinary approach, combining historical information with case studies and other methods. Charts and pictures are used to supplement and reinforce the conclusions drawn from the macro narrative, enhancing the authenticity and readability of the historical monographs. It represents the first study of the classical art of landscape design in China, offering readers an insightful introduction.