About Architecture is an engaging introduction to architecture, exploring the ways in which we construct our built environment, and why. Hugh Pearman guides us through the architecture that shapes our lives—from how our towns and cities are organized, to where we live, learn and work, and how we get around, interact with others, and relax. Organized by type—from civic spaces, to homes, offices, and museums—the clear and straightforward structure demystifies the many styles and functions of architecture. Pearman explores how architecture responds to our changing lifestyles and how some buildings evolve or find new uses. He demonstrates that while there is endless variety within each building type, the essence of architecture—the way buildings serve their users—remains surprisingly constant.   Through 55 fascinating international examples, from antiquity to the present day, About Architecture reveals the intriguing stories of the buildings that explain our world.

The Analyst's Ear and the Critic's Eye is the first volume of literary criticism to be co-authored by a practicing psychoanalyst and a literary critic. The result of this unique collaboration is a lively conversation that not only demonstrates what is most fundamental to each discipline, but creates a joint perspective on reading literature that neither discipline alone can achieve. This book radically redefines the relationship between psychoanalysis and literary studies in a way that revitalizes the conversation between the two fields. This is achieved, in part, by providing richly textured descriptions of analytic work. These clinical illustrations bring to life the intersubjective dimension of analytic practice, which is integral to the book's original conception of psychoanalytic literary criticism. In their readings of seminal works of American and European literature, the authors address questions that are fundamental to psychoanalysis, literary studies, and the future of psychoanalytic literary criticism: -What is psychoanalytic literary criticism? -Which concepts are most fundamental to psychoanalytic theory? -What is the role of psychoanalytic theory in reading literature? -How does an analyst's clinical experience shape the way he reads? -How might literary critics make use of the analyst's experience with his patients? -What might psychoanalysts learn from the ways professional literary critics read? This volume provides cutting edge work which will breathe new life into psychoanalytic ways of reading, free from technical language, yet drawing upon what is most fundamental to psychoanalytic theory and practice. It will be of great interest to mental health professionals, literary scholars and those studying psychoanalysis and literature.

Challenging existing assumptions about how our towns and cities are structured and formed, Julian Hart provides an engaging and thought-provoking alternative theory of urban design. This is not urban design in the sense of the practice of design; rather it is a theory of the form of the town at all scales - why towns and cities happen to be structured the way they are as a result of the social, political, legal and (especially) economic forces that create them. The shape of the city at every scale, from the internal configuration of dwellings all the way up to the superstructure of the whole city, can be seen to arise from the interplay between three antagonistic socio-economic tensions. In going about our daily business and in championing particular political objectives, we collectively fashion our cities in terms of their structure and form. This leads to various new ways of understanding how and why our cities so happen to be configured the way they are. The book makes a step change from any other comparable studies by understanding our towns and cities in terms of function in form. This helps us to appreciate why every town is a recognisable town, wherever it is. Different urban environments in different parts of the world, past and present, can come to be seen according to their similarities instead of their differences. Furthermore, by appreciating how the economic influences of everyday life structure our towns and cities, we can in turn begin to understand better how the shape of towns and cities affects the quality of life of inhabitants and the cohesiveness of communities. In covering all scales from inside the home to macrostructure of the city, the book encapsulates urban design through to town planning and does not seek to distinguish between the various design disciplines.

In a globalizing world, frontiers may be in flux but they remain as significant as ever. New borders are established even as old borders are erased. Beyond lines on maps, however, borders are spatial zones in which distinctive architectural, graphic, and other design elements are deployed to signal the nature of the space and to guide, if not actually control, behaviour and social relations within it. This volume unpacks how manipulations of space and design in frontier zones, historically as well as today, set the stage for specific kinds of interactions and convey meanings about these sites and the experiences they embody. Frontier zones organize an array of functions to facilitate the passage of goods, information, and people, and to define and control access. Bringing together studies from Asia, Africa, the Middle East, Europe, and North America, this collection of essays casts a wide net to consider borders of diverse sorts. Investigations of contemporary political frontiers are set within the context of examinations of historical borders, borders that have existed within cities, and virtual borders. This range allows for reflection on shifts in how frontier zones are articulated and the impermanence of border emplacements, as well as on likely scenarios for future frontiers. This text is unique in bringing together a number of scholarly perspectives in the arts and humanities to examine how spatial and architectural design decisions convey meaning, shape or abet specific social practices, and stage memories of frontier zones that no longer function as such. It joins and expands discussions in social science disciplines, in which considerations of border practices tend to overlook the role of built form and material culture more broadly in representing social practices and meanings.

From street-markets and pop-up shops to art installations and Olympic parks, the temporary use of urban space is a growing international trend in architecture and urban design. Partly a response to economic and ecological crisis, it also claims to offer a critique of the status quo and an innovative way forward for the urban future. Cities in Time aims to explore and understand the phenomenon, offering a first critical and theoretical evaluation of temporary urbanism and its implications for the present and future of our cities. The book argues that temporary urbanism needs to be understood within the broader context of how different concepts of time are embedded in the city. In any urban place, multiple, discordant and diverse timeframes are at play - and the chapters here explore these different conceptions of temporality, their causes and their effects. Themes explored include how institutionalised time regulates everyday urban life, how technological and economic changes have accelerated the city's rhythms, our existential and personal senses of time, concepts of memory and identity, virtual spaces, ephemerality and permanence.

This book offers a diverse understanding and practical approach towards the growing area of atmosphere research, in the context of philosophy, geography and architecture. It begins by tracing back to the model of experience called the "pathic". Drawing on the phenomenology of theorists Hermann Schmitz and Gernot Boehme, introductory chapters offer a grounding for the beginnings of pathic research. The chapters go on to apply pathic framework to a range of practical cases from theatre studies to education. Atmospheres are often defined as affects one feels in a "lived space" and researchers are becoming more interested in the emotions we feel in natural and artificial environments across day to day life. By providing a critical re-evaluation of phenomenology and aesthetics, the book brings a series of unexplored and controversial subjects to light, opening up a new context for thinking about our everyday life and experiences inscribed within aesthetics, politics, literature, spatial practices and pedagogy and effectively merging abstract philosophy and concrete practice. This book is particularly poignant in the emerging field of Atmosphere and New Aesthetics research. Practitioners, academics and researchers working within Cultural Geography, Aesthetics, Art and Philosophy will find this book extremely valuable.

This book examines the skyline as a space for radical urban politics. Focusing on the relationship between aesthetics and politics in London's tall-building boom, it develops a critique of the construction of more and more speculative towers as well as a critique of the claim that these buildings ruin the historic cityscape. Gassner argues that the new London skyline needs to be ruined instead and explores ruination as a political appropriation of the commodified and financialised cityscape. Aimed at academics and students in the fields of architecture, urban design, politics, urban geography, and sociology, Ruined Skylines engages with the work of Walter Benjamin and other critical and political theorists. It examines accounts of sometimes rebellious and often conservative groupings, including the City Beautiful movement, the English Townscape movement, and the Royal Fine Art Commission, and discusses tower developments in the City of London - 110 Bishopsgate, the Pinnacle, 22 Bishopsgate, 1 Undershaft, 122 Leadenhall, and 20 Fenchurch - in order to make a case for reanimating urban politics as an art of the possible.

What can political theory teach us about architecture, and what can it learn from paying closer attention to architecture? The essays assembled in this volume begin from a common postulate: that architecture is not merely a backdrop to political life but a political force in its own right. Each in their own way, they aim to give countenance to that claim, and to show how our thinking about politics can be enriched by reflecting on the built environment. The collection advances four lines of inquiry, probing the connection between architecture and political regimes; examining how architecture can be constitutive of the ethical and political realm; uncovering how architecture is enmeshed in logics of governmentality and in the political economy of the city; and asking to what extent we can think of architecture-tributary as it is to the flows of capital-as a partially autonomous social force. Taken together, the essays demonstrate the salience of a range of political theoretical approaches for the analysis of architecture, and show that architecture deserves a place as an object of study in political theory, alongside institutions, laws, norms, practices, imaginaries, and discourses.

Whatever 'ugliness' is, it remains a problematic category in architectural aesthetics - alternately vilified and appropriated, used either to shock or to invert conventions of architecture. This book presents sixteen new scholarly essays which rethink ugliness in recent architecture - from Brutalism to eclectic postmodern architectural productions - and together offer a diverse reappraisal of the history and theory of postmodern architecture and design. The essays address both broad theoretical questions on ugliness and postmodern aesthetics, as well as more specific analyses of significant architectural examples dating from the last decades of the twentieth century. The book attends to the diverse relations between the aesthetic register of ugliness and closely connected aesthetic concepts such as the monstrous, the ordinary, disgust, the excessive, the grotesque, the interesting, the impure and the sublime. This volume does not simply document the history of a postmodern anti-aesthetic through case studies. Instead, it aims to shed light on aesthetic problems that have been largely overlooked in the agenda of architectural theory. This book answers in detail the questions: How did postmodern architects appropriate troublesome contradictions bound to the raw ugliness of the real? How have the ugly and the antiaesthetic been a productive force in postmodern architecture? How can ugliness be of value to architecture? And how can architecture make good use of ugliness?

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.

From the Rust Belt to Silicon Valley, the intersection between architecture and industry has provided a rich and evolving source for historians of architecture. In a historical context, industrial architecture evokes the smoking factories of the nineteenth century or Fordist production complexes of the twentieth century. This book documents the changing nature of industrial building and planning from the end of the nineteenth century to the beginning of the twenty-first century. Drawing on research from the United States, Europe and Australia, this collection of essays highlights key moments in industrial architecture and planning representative of the wider paradigms in the field. Areas of analysis include industrial production, factories, hydroelectricity, aerospace, logistics, finance, scientific research and mining. The selected case studies serve to highlight architectural and planning innovations in industry and their contributions to wider cultural and societal currents. This richly illustrated collection will be of interest for a wide range of built environment studies, incorporating findings from both historical and theoretical scholarship and design research.

This collection introduces Rudolf Steiner's vision of architecture as a culmination of the arts. Such an architecture unites sculpture, painting, and engraving as well as drama, music and dance -- a vital synthesis of all the arts working in cooperation out of a common ideal to awaken each human being to his or her unique self and task in life.

Unlike many of his contemporaries, however, Steiner's ideas did not remain abstract. Within his lifetime he was able to design and construct a number of buildings, including his architectural masterpiece, the Goetheanum -- a center for culture and arts near Basle, Switzerland. In these lectures Steiner describes, with reference to the Goetheanum, the importance of an architecturally coherent and integrated community, and how this in turn affects social unity and harmony.

Includes eight color plates and 30 black & white illustrations. A valuable collection for students of architecture, the arts, social science, or anybody seeking deeper spiritual understanding.

A Philosophy of Landscape Construction outlines a philosophy of values in landscape construction, demonstrating how integral structures, such as pavements and walls, constitute a key element to how people interact with and inhabit the final design. The book discusses how these structures enable, assist and care for people, negotiating between the dynamic processes of site ecosystems and the soil on which they are founded. They articulate spatial, functional, cultural and ecological meanings. Within this theoretical framework, designers will learn to recognize and insert a set of core values into the most technical design stages to reach their full potential. By offering a new perspective on landscape construction, moving away from the exclusively technical characteristics, this book allows landscape architects to realise the ideal vision for their designs. It is abundantly illustrated with examples from which designers can learn both successes and failures and will be an essential companion to any study of built landscapes.

Drawing Imagining Building focuses on the history of hand-drawing practices to capture some of the most crucial and overlooked parts of the process. Using 80 black and white images to illustrate the examples, it examines architectural drawing practices to elucidate the ways drawing advances the architect's imagination. Emmons considers drawing practices in the Renaissance and up to the first half of the twentieth century. Combining systematic analysis across time with historical explication presents the development of hand-drawing, while also grounding early modern practices in their historical milieu. Each of the illustrated chapters considers formative aspects of architectural drawing practice, such as upright elevations, flowing lines and occult lines, and drawing scales to identify their roots in an embodied approach to show how hand-drawing contributes to the architect's productive imagination. By documenting some of the ways of thinking through practices of architectural handdrawing, it describes how practices can enrich the ethical imagination of the architect. This book would be beneficial for academics, practitioners, and students of architecture, particularly those who are interested in the history and significance of hand-drawing and technical drawing.

A History of Architecture and Trade draws together essays from an international roster of distinguished and emerging scholars to critically examine the important role architecture and urbanism played in the past five hundred years of global trading, moving away from a conventional Western narrative. The book uses an alternative holistic lens through which to view the development of architecture and trade, covering diverse topics such as the coercive urbanism of the Dutch East India Company; how slavery and capitalism shaped architecture and urbanization; and the importance of Islamic trading in the history of global trade. Each chapter examines a key site in history, using architecture, landscape and urban scale as evidence to show how trade has shaped them. It will appeal to scholars and researchers interested in areas such as world history, economic and trade history and architectural history.

Progressive Studio Pedagogy provides guidance to educators in all design fields by questioning processes and assumptions about teaching and learning, utilising examples from architecture, landscape architecture, and interior design. Through a series of case studies, this book presents innovative approaches to learning and teaching in design studio. Traditionally, design education is perceived to be a process for acquiring skills and a site for developing creative potential. However, contemporary higher education is embracing issues that include widening participation, managing transition, and fostering independent learning and graduate employability. This book situates design learning within this varied context and offers insights into how to confront the challenge of facilitating learning through divergent contexts by presenting projects and courses that use a range of approaches that require students to think and act critically and evaluatively. Progressive Studio Pedagogy presents new practices that readers can adapt into their own creative education, making it an ideal read for those interested in teaching design.

Reconstruction and Restoration of Architectural Heritage 2020 includes contributions on the protection, and restoration of architectural monuments and the reconstruction of major historical urban development sites, as well as various complex issues and aspects of engineering reconstruction of monuments and preservation of historical heritage. The contributions were presented at the eponymous conference (RRAH 2020, St Petersburg, Russia, 25-28 March 2020), and cover a wide range of topics: - Historical, architectural and urban planning research and restoration of monuments - Urban and regional planning - Engineering reconstruction, performance of repair and reconstruction works on monuments - Training of architects and restorers Reconstruction and Restoration of Architectural Heritage 2020 will be of interest to academics and professionals involved in the history and restoration of nature reserves, estates, cities and monuments.

This book explores the notion of affective space in relation to architecture. It helps to clarify the first-person, direct experience of the environment and how it impacts a person's emotional states, influencing their perception of the world around them. Affective space has become a central notion in several discussions across philosophy, geography, anthropology, architecture and so on. However, only a limited selection of its key features finds resonance in architectural and urban theory, especially the idea of atmospheres, through the work of German phenomenologist Gernot Boehme. This book brings to light a wider range of issues bound to lived corporeal experience. These further issues have only received minor attention in architecture, where the discourse on affective space mostly remains superficial. The theory of atmospheres, in particular, is often criticized as being a surface-level, shallow theory as it is introduced in an unsystematic and fragmented fashion, and is a mere "easy to use" segment of what is a wider and all but impressionistic analytical method. This book provides a broader outlook on the topic and creates an entry point into a hitherto underexplored field. The book's theoretical foundation rests on a wide range of non-architectural sources, primarily from philosophy, anthropology and the cognitive sciences, and is strengthened through cases drawn from actual architectural and urban space. These cases make the book more comprehensible for readers not versed in contemporary philosophical trends.

Freud for Architects explains what Freud offers to the understanding of architectural creativity and architectural experience, with case examples from early modern architecture to the present. Freud's observations on the human psyche and its influence on culture and social behavior have generated a great deal of discussion since the 19th century. Yet, what Freud's key ideas offer to the understanding of architectural creativity and experience has received little direct attention. That is partly because Freud opened the door to a place where conventional research in architecture has little traction, the unconscious. Adding to the difficulties, Freud's collection of work is vast and daunting. Freud for Architects navigates Freud's key ideas and bridges a chasm between architecture and psychoanalytic theory. The book highlights Freud's ideas on the foundational developments of childhood, developments on which the adult psyche is based. It explains why and how the developmental stages could influence adult architectural preferences and preoccupations, spatial intuition, and beliefs about what is proper and right for architectural design. As such, Freud for Architects will be of great interest to students, practitioners, and scholars in a range of disciplines including architecture, psychoanalysis, and philosophy.

Architecture History, Theory and Preservation critically explores the historic development, theoretical underpinnings and conservation practices of architecture. Complete with 170 full color images, this volume presents architectural and urban examples, from Prehistory to the Middle Ages, chronologically and thematically examining contextual issues that provide each period with distinctive expressions. The special features, structural systems, materials and construction technologies are analyzed, as well as how the international community deals with the task of interpreting and preserving certain historic properties. This publication provides professors and students of architecture, art history, historic preservation and related fields with an integrated view of architecture using historical, theoretical and conservation perspectives. As an architect, architectural historian and preservationist herself, Dr Pabon-Charneco weaves a field of relationships regarding each building, creating a silent yet empowering bridge between past and present.

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.

The Routledge Research Companion to Landscape Architecture considers landscape architecture's increasingly important cultural, aesthetic, and ecological role. The volume reflects topical concerns in theoretical, historical, philosophical, and practice-related research in landscape architecture - research that reflects our relationship with what has traditionally been called 'nature'. It does so at a time when questions about the use of global resources and understanding the links between human and non-human worlds are more crucial than ever. The twenty-five chapters of this edited collection bring together significant positions in current landscape architecture research under five broad themes - History, Sites and Heritage, City and Nature, Ethics and Sustainability, Knowledge and Practice - supplemented with a discussion of landscape architecture education. Prominent as well as up-and-coming contributors from landscape architecture and adjacent fields including Tom Avermaete, Peter Carl, Gareth Doherty, Ottmar Ette, Matthew Gandy, Christophe Girot, Anne Whiston Spirn, Ian H. Thompson and Jane Wolff seek to widen, fuel, and frame critical discussion in this growing area. A significant contribution to landscape architecture research, this book will be beneficial not only to students and academics in landscape architecture, but also to scholars in related fields such as history, architecture, and social studies.

The Routledge Companion to Criticality in Art, Architecture, and Design presents an in-depth exploration of criticism and criticality in theory and practice across the disciplines of art, architecture, and design. Professional criticism is a vital part of understanding the cultural significance of designed objects and environments that we engage with on a daily basis, yet there is evidence to show that this practice is changing. This edited volume investigates how practitioners, researchers, educators, and professionals engage with, think about, and value the practice of critique. With contributions from a multi-disciplinary authorship from nine countries - the UK, USA, Australia, India, Netherlands, Switzerland, South Africa, Belgium, and Denmark - this companion provides a wide range of leading perspectives evaluating the landscape of criticality and how it is being shaped by technological and social advances. Illustrated with over 60 black and white images and structured into five sections, The Routledge Companion to Criticality in Art, Architecture, and Design is a comprehensive volume for researchers, educators, and students exploring the changing role of criticism through interdisciplinary perspectives.

This interdisciplinary collection explores the dynamic relationship between literature and architecture from the mid-nineteenth century to the present. Contributions take the reader on a journey through unexplored byways, from Istanbul to New York to London, from event spaces to domestic interiors to the fictional buildings of the novel. Topics include the building of imaginary spaces, such as the architectural models of comic book worlds created by the cartoonist Seth and the Museum of Innocence by Orhan Pamuk, which is both novel and building. Real architectural spaces are recontextualized through literature: reading the work of Louis Kahn through his personal library and envisioning the writing haven of James Baldwin through his novels. Another approach links literary style with architectural form, as in the work of the New York School poets, who reformulate the built environment on the page. Architectural landmarks like Robert Stevenson's Roundhouse (1847), Joseph Paxton's Crystal Palace for the Great Exhibition and the 2012 Olympic Park are reconsidered as counter-narratives of postcolonialism and empire, and the New York skyline is examined alongside literature and visual culture. This collection demonstrates the reciprocal exchange that exists between the disciplines of literature and architecture and promotes new ways of understanding these interactions.