A charming travelogue set in the British Raj, A Winter in India presents a fascinating journey across people, customs, languages, cities, monuments, and landscapes. Spens thrilling and amusing anecdotes and multifarious experiences of the rugged Khyber Pass and its tribes, the military history and the Mutiny of 1857 at Kanpur and Lucknow, religi

This book considers the provisional nature of cities in relation to the Anthropocene - the proposed geological epoch of human-induced changes to the Earth system. It charts an environmental history of curfews, admonitions and alarms about dwelling on Earth. 'Provisional cities' are explored as exemplary sites for thinking about living in this unsettled time. Each chapter focuses on cities, settlements or proxy urbanisations, including past disaster zones, remote outposts in the present and future urban fossils. The book explores the dynamic, changing and contradictory relationship between architecture and the global environmental crisis and looks at how to re-position architectural and urban practice in relation to wider intellectual, environmental, political and cultural shifts. The book argues that these rounder and richer accounts can better equip humanity to think through questions of vulnerability, responsibility and opportunity that are presented by immense processes of planetary change. These are cautionary tales for the Anthropocene. Central to this project is the proposition that living with uncertainty requires that architecture is reframed as a provisional practice. This book would be beneficial to students and academics working in architecture, geography, planning and environmental humanities as well as professionals working to shape the future of cities.

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.

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.

Each of these Analysing Architecture Notebooks is devoted to a particular theme in understanding the rich and varied workings of architecture. They can be thought of as addenda to the foundation volume Analysing Architecture, which first appeared in 1997 and has subsequently been enlarged in three further editions. Examining these extra themes as a series of Notebooks, rather than as additional chapters in future editions, allows greater space for more detailed exploration of a wider variety of examples, whilst avoiding the risk of the original book becoming unwieldy. Metaphor is the most powerful component of the poetry of architecture. It has been a significant factor in architecture since the earliest periods of human history, when people were finding ways to give order and meaning to the world in which we live. It is arguable that architecture began with the realisation of metaphor in physical form, and that subsequent movements - from Greek to Gothic, Renaissance to Modern, Victorian to Vernacular... - have all been driven by the emergence or rediscovery of different metaphors by which architecture might be generated.

This book proposes a new critical relationship between computation and architecture, developing a history and theory of representation in architecture to understand and unleash potential means to open up creativity in the field. Historically, architecture has led spatial representation. Today, computation has established new representational paradigms that can be compared to spatial representations, such as the revolution of perspective in the Renaissance. Architects now use software, robotics, and fabrication tools with very little understanding and participation in how these tools influence, revolutionize, and determine both architecture and its construction today. Why does the discipline of architecture not have a higher degree of authorship in the conception and development of computational technologies that define spatial representation? This book critically explores the relationship between history, theory and cultural criticism. Lorenzo-Eiroa positions new understandings through parallel historical sections and theories of many revolutionary representational architecture canons displaced by conventional spatial projection. He identifies the architects, artists, mathematicians, and philosophers that were able to revolutionise their disciplines through the development of new technologies, new systems of representation, and new lenses to understand reality. This book frames the discussion by addressing new means to understand and expand architecture authorship in relation to survey, information, representation, higher dimensional space, Big Data, and Artificial Intelligence - in the pursuit of activating an architecture of information. This will be important reading for upper-level students and researchers of architecture and architectural theory, especially those with a keen interest in computational design and robotic fabrication.

Le Corbusier is well-known for his architectural accomplishments, which have been extensively discussed in literature. Towards a Public Space instead offers a unique analysis of Le Corbusier's contributions to urban planning. The public spaces in Le Corbusier's plans are usually considered to break with the past and to have nothing whatsoever in common with the public spaces created before modernism. This view is fostered by both the innovative character of his proposals and by the proliferation in his manifestos of watchwords that mask any evocation of the past, like l'esprit nouveau ("new spirit") and l'architecture de demain ("architecture of tomorrow"). However, if we manage to rid ourselves of certain preconceived ideas, which underpin a somewhat less-than-objective idea of modernity, we find that Le Corbusier's public spaces not only didn't break with the historical past in any abrupt way but actually testified to the continuity of human creation over time. Aimed at academics and students in architecture, architectural history and urban planning, this book fills a gap in the systematic analysis of Le Corbusier's city scale plans and, specifically, Corbusian public spaces following the Second World War.

Investigates postmodern architecture's manifestations in the unlikely settings of Chile during the neoliberal dictatorship of Augusto Pinochet and Poland during the late socialist Polish People's Republic. Argues for a new account that incorporates the political roles postmodernism plays when seen in a global perspective. Focuses particularly on what "dissent" can mean in architecture - an enterprise that is always an expression of authority structures as its manifestation depends upon state approval or support.

Through the theoretical lenses of dress studies, gender, science, and visual studies, this volume analyses the impact John Ruskin has had on architecture throughout the nineteenth and twentieth centuries. It explores Ruskin's different ideologies, such as the adorned wall veil, which were instrumental in bringing focus to structures that were previously unconsidered. John Ruskin and the Fabric of Architecture examines the ways in which Ruskin perceives the evolution of architecture through the idea that architecture is surface. The creative act in architecture, analogous to the divine act of creation, was viewed as a form of dressing. By adding highly aesthetic features to designs, taking inspiration from the 'veil' of women's clothing, Ruskin believed that buildings could be transformed into meaningful architecture. This volume discusses the importance of Ruskin's surface theory and the myth of feminine architecture, and additionally presents a competing theory of textile analogy in architecture based on morality and gender to counter Gottfried Semper's historicist perspective. This book would be beneficial to students and academics of architectural history and theory, gender studies and visual studies who wish to delve into Ruskin's theories and to further understand his capacity for thinking beyond the historical methods. The book will also be of interest to architectural practitioners, particularly Ruskin's theory of surface architecture.

Ideas gain legitimacy as they are put to some practical use. A study of Charles Sanders Peirce (1839-1914) supports this pragmatism as a way of thinking about truth and meaning. Architecture has a strong pragmatic strand, not least as we think of building users, architecture as a practice, the practical demands of building, and utility. After all, Vitruvius placed firmness and delight in the company of utilitas amongst his demands on architecture. Peirce (pronounced 'purse') was a logician, and so many of his ideas are couched in terms of formal propositions and their limitations. His work appeals therefore to many architects grappling with the digital age, and references to his work cropped up in the Design Methods Movement that developed and grew from the 1950s. That movement sought to systematise the design process, contributing to the idea of the RIBA Plan of Work, computer-aided design, and various controversies about rendering the design process transparent and open to scrutiny. Peirce's commitment to logic led him to investigate the basic elements of logical statements, notably the element of the sign. His best-known contribution to design revolves around his intricate theory of semiotics, the science of signs. The study of semiotics divided around the 1980s between advocates of Peirce's semiotics, and the broader, more politically charged field of structuralism. The latter has held sway in architectural discourse since the 1980s. Why this happened and what we gain by reviving a Peircean semiotics is the task of this book.

The Production Sites of Architecture examines the intimate link between material sites and meaning. It explores questions such as: how do spatial configurations produce meaning? What are alternative modes of knowledge production? How do these change our understanding of architectural knowledge? Featuring essays from an international range of scholars, the book accepts that everything about the production of architecture has social significance. It focuses on two areas: firstly, relationships of spatial configuration, form, order and classification; secondly, the interaction of architecture and these notions with other areas of knowledge, such as literature, inscriptions, interpretations, and theories of classification, ordering and invention. Moving beyond perspectives which divide architecture into either an aesthetic or practical art, the authors show how buildings are informed by intersections between site and content, space and idea, thought and materiality, architecture and imagination. Presenting illustrated case studies of works by architects and artists including Amale Andraos, Dan Wood, OMA, Koen Deprez and John Soane, The Production Sites of Architecture makes a major contribution to our understanding of architectural theory.

Cities are built over the remnants of their past buried beneath their present. We build on what has been built before, whether over foundations formalising previous permanency or over the temporal occupations of ground. But what happens when you shift a city - when you dislodge its occupation of ground towards a new ground, bury it and forget it? Focusing on Berlin's destruction during World War II and its reconstruction after the end of the war, this book offers a rethinking of how the practices of destruction and burial combine to reform the city through geography and how burying a city is intricately tied to forgetting destruction, ruination and trauma. Created from 25 million cubic meters of rubble produced during World War II, Teufelsberg (Devil's Mountain) is the exemplar of the destroyed city. Its critical journey is chronicled in combination with Berlin's seven other rubble hills, and their connections to constructing forgetting through burial. Furthermore, the book investigates Berlin's sublime relation to Albert Speer's urban vision to rival the ancient cities of Rome and Athens through their now shared geographies of seven hills. Finally, there is a central focus on the role of the citizens who cleared Berlin's streets of rubble, and the subsequent human relationships between people and ruins. This book is valuable reading for those interested in Architectural Theory, Urban Geography, Modern History and Urban Design.

In seeking to answer the question Whose Tradition? this book pursues four themes: Place: Whose Nation, Whose City?; People: Whose Indigeneity?; Colonialism: Whose Architecture?; and Time: Whose Identity? Following Nezar AlSayyad's Prologue, contributors addressing the first theme take examples from Indonesia, Myanmar and Brazil to explore how traditions rooted in a particular place can be claimed by various groups whose purposes may be at odds with one another. With examples from Hong Kong, a Santal village in eastern India and the city of Kuala Lumpur, contributors investigate the concept of indigeneity, the second theme, and its changing meaning in an increasingly globalized milieu from colonial to post-colonial times. Contributors to the third theme examine the lingering effects of colonial rule in altering present-day narratives of architectural identity, taking examples from Guam, Brazil, and Portugal and its former colony, Mozambique. Addressing the final theme, contributors take examples from Africa and the United States to demonstrate how traditions construct identities, and in turn how identities inform the interpretation and manipulation of tradition within contexts of socio-cultural transformation in which such identities are in flux and even threatened. The book ends with two reflective pieces: the first drawing a comparison between a sense of 'home' and a sense of tradition; the second emphasizing how the very concept of a tradition is an attempt to pin down something that is inherently in flux.

This book critically examines the philosophy of the term 'transgression' and how it shapes the utopian vision of contemporary urban design scenarios. The aim of this book is to provide scholarly yet accessible graphic novel illustrations to inform narratives of urban manifestos. Through four select case studies from the UK, Cyprus and Germany, the book highlights the paradoxes and contradictions in architecture and provides detailed evaluation of the limits and contemporary forms of sustainable urban regeneration. The book proposes an 'utopian urban vision' approach to social, political and cultural relations, trends and tensions both locally and globally, and seeks to inspire an awakening in architectural discourse. The book argues that the philosophical undermining of transgression is the result of a phenomenon from a different perspective - its philosophical background, its social construction, its experimental research process and its design implications on the city. As such, the book provides a critical examination of how architectural design interventions contribute to sustainable urban regeneration, gentrification and can impact local communities. This book provides a significant contribution to both undergraduate and postgraduate students, as well as early career researchers working in architecture, planning and sustainable urban design. It offers effective guidance on adopting the state-of-the-art graphical illustrations into their own design projects, while considering contradictions between architectural discourse and the philosophy of transgression.

This volume explores connections between architecture and theatre, and encourages imagination in the design of buildings and social spaces. Imagination is arguably the architect's most crucial capacity, underpinning memory, invention and compassion. No simple power of the mind, architectural imagination is deeply embodied, social and situational. Its performative potential and holistic scope may be best understood through the model of theatre. Theatres of Architectural Imagination examines the fertile relationship between theatre and architecture with essays, interviews and entr'actes arranged in three sections: Bodies, Settings and (Inter)Actions. Contributions explore a global spectrum of examples and contexts, from ancient Rome and Renaissance Italy to modern Europe, North America, India and Japan. Topics include: the central role of the human body in design; the city as a place of political drama, protest and phenomenal play; and world-making through language, gesture and myth. Chapters also consider sacred and magical functions of theatre in Balinese and Persian settings; eccentric experiments at the Bauhaus and 1970 Osaka World Expo; and ecological action and collective healing amid contemporary climate chaos. Inspired by architect and educator Marco Frascari, the book performs as a Janus-like memory theatre, recalling and projecting the architect's perennial task of reimagining a more meaningful world. This collection will delight and provoke thinkers and makers in theatrical arts and built environment disciplines, especially Architecture, Landscape and Urban Design.

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.

Perspective as Logic offers an architectural examination of the filmic screen as an ontologically unique element in the discipline’s repertoire. The book determines the screen’s conditions of possibility by critically asking not what a screen means, but how it can mean anything of architectural significance. Based on this shift of enquiry towards the question of meaning, it introduces Jacques Lacan and Alain Badiou in an unprecedented way to architecture—since they exemplify an analogous shift of perspective towards the question of the subject and the question of being accordingly. The book begins by positing perspective projection as being a logical mapping of space instead of a matter of sight (Alberti & Lacan). Secondly, it discusses the very nature of architecture’s view and relation to the topological notion of outside between immediacy and mediation (Diller and Scofidio, The Slow House). It examines the limitation of pictorial illusion and the productive negativity in the suspension of architecture’s signified equivalent to language’s production of undecidable propositions (Eisenman & Badiou). In addition, the book outlines the difference between the point of view and the vanishing point by introducing two different conceptions of infinity (Michael Webb, Temple Island). Finally, a series of design experiments playfully shows how the screen exemplifies architecture’s self-reflexive capacity where material and immaterial components are part of the spatial conception to which they refer and produce. This book will be particularly appealing to scholars of architectural theory, especially those interested in the domains of philosophy, psychoanalysis and the linguistic turn of architecture.

The book investigates speculative filmic architectural projects and animations that go beyond representing buildings, touching upon issues concerning medium, act of representation, or conducting criticism on history, culture, society, or urban politics, along with the mediated character of contemporary spatial experience – interpreting it primarily through protocols of architectural imaging. The book centres on the influence of simulation and cinematic design on visionary or speculative architecture.  It outlines the impact of film and animation in architectural representation through key projects. The opening analysis is useful in contextualizing speculative architectural projects, while the later chapters link the theory to the imagery. Stasiowski uses a diverse collection of interesting case studies that are easy to read and well-chosen to support his argument. This is a well-researched work and comprehensive review of speculative architecture and various media that describe it. Stasiowski makes a thorough argument about the use of cinema and animation as a method of architectural visualization. Stasiowki’s book sets itself apart from other work in the same area by in discussing speculative projects in relation to cinema. and specifically, the effect that modern technologies are having on the subject now and in its potential futures. The borderline between material environment and spatialized imagery becomes progressively more blurred, while demand for visionary works that would make sense of this merging, has never been greater. It will appeal primarily to architects and designers, filmmakers and academics. It may also be of interest to artists, set designers, and film production designers.

Reflections on Architecture, Society and Politics brings together a series of thirteen interview-articles by Graham Cairns in collaboration with some of the most prominent polemic thinkers and critical practitioners from the fields of architecture and the social sciences, including Noam Chomsky, Peggy Deamer, Robert A.M. Stern, Daniel Libeskind and Kenneth Frampton. Each chapter explores the relationship between architecture and socio-political issues through discussion of architectural theories and projects, citing specific issues and themes that have led to, and will shape, the various aspects of the current and future built environment. Ranging from Chomsky's examination of the US-Mexico border as the architecture of oppression to Robert A.M. Stern's defence of projects for the Disney corporation and George W. Bush, this book places politics at the center of issues within contemporary architecture.

This book provides a detailed historical and design analysis of the development of parks and modern landscape architecture in late 20th century China. It questions whether the fusion of international influences with the local Chinese design vocabulary in late 20th century China has created a distinctive and novel approach to the design of public parks. Hybrid Modernity proposes a new theory for examining the design of public parks built in post-Mao China since the reforms and sets the various processes for China's late 20th century socio-cultural context. Drawing on modernization theory, research on China's modernity, local and global cultural trends, it illustrates through a range of case studies ways hybrid modernity defines a new design genre and language for the spatial forms of parks that emerged in China's secondary cities. Featured case studies include the Living Water Park in Chengdu, Sichuan province, Zhongshan Shipyard Park in Guangdong Province, Jinji Lake Landscape Master Plan in Suzhou, Jiangsu province, and the West Lake Southern Scenic Area Master Plan in Hangzhou, Zhejiang province. This book argues that these forms represent a new stage in China's history of landscape architecture. The work reveals that as a new profession, landscape architecture has greatly contributed to China's massive urban experiment. This book is an ideal read for students enrolled in landscape architecture, architecture, fine arts and urban planning programs who are engaged in learning the arts and international design education.

This book discusses architectural excellence in Islamic societies drawing on textual and visual materials, from the Aga Khan Documentation Center at MIT, developed over more than three decades. At the core of the discussion are the efforts, processes, and outcomes of the Aga Khan Award for Architecture (AKAA). The AKAA recognises excellence in architectural and urban interventions within cities and settlements in the Islamic world which are continuously challenged by dramatic changes in economies, societies, political systems, decision-making, and environmental requirements. Architectural Excellence in Islamic Societies responds to the recurring question about the need for architectural awards, arguing that they are critical to validating the achievements of professional architects while making their contributions more widely acknowledged by the public. Through analysis and critique of over sixty awarded and shortlisted projects from over thirty-five countries, this book provides an expansive look at the history of the AKAA through a series of narratives on the enduring values of architecture, architectural and urban conservation, built environment sustainability, and architectural pluralism and multiple modernities. Architectural Excellence in Islamic Societies will appeal to professionals and academics, researchers, and upper-level students in architectural history and theory and built environment related fields.

Connects the practice of architecture with its recent history and its theoretical origins - analysing in straightforward and jargon-free language the genesis of modernism and the complex reactions to it Provides students with a clear understanding of the history of twentieth-century architecture, written with close critical attention to the theories that lie behind the built works described Illustrated with 200 colour and black and white illustrations, it is an enormously clear and accessible resource for any student of architecture

Investigates postmodern architecture's manifestations in the unlikely settings of Chile during the neoliberal dictatorship of Augusto Pinochet and Poland during the late socialist Polish People's Republic. Argues for a new account that incorporates the political roles postmodernism plays when seen in a global perspective. Focuses particularly on what "dissent" can mean in architecture - an enterprise that is always an expression of authority structures as its manifestation depends upon state approval or support.

First published in 1988, this book argues that discussions of urban development often neglect to consider that much of the urban environment is designed by architects and planners, and that the particular world-view of architects and planners is crucial for the way proposals are taken up, modified and carried out. The author explores the world-view of architects and planners, considering their approach to design and the factors which influence this - work patterns, career paths and the firms in which they operate. The author also studies their place in the political decision-making process as it affects urban questions and then explores how architects and planners roles are changing.