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

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.

Affect, Architecture, and Practice builds on and contributes to work in theories of affect that have risen within diverse disciplines, including geography, cultural studies, and media studies, challenging the nature of textual and representational-based research. Although numerous studies have examined how affect emerges in architectural spaces, little attention has been paid to the creative process of architectural design and the role that affect plays in the many contingencies and uncertainties that arise in the process. The book traces the critical, philosophic, and architectural theories to examine how affect, architecture, and practice are interlinked. Through a series of conversations and reflections, it examines three key contemporary architects, their practices and projects, all within a single coherent theme. Reiser + Umemoto (RUR Architecture DPC), USA, Kerstin Thompson Architects, Australia, and Shigeru Ban Architects, Japan, are critically studied through the lens of different aspects of practice, namely image-making, the design process, and the making of an everyday object/material. Through this investigation, author Akari Nakai Kidd demonstrates how affect theory allows a critical interrogation of the in-betweens of practice, its liminality and limits. It questions the stability of objects, the smooth temporality of practice, and its often under-conceptualised non-human dimensions. More significantly, the book demonstrates architectural practice's contribution to the reconceptualisation of theories of affect.

Writing Architecture in Modern Italy tells the history of an intellectual group connected to the small but influential Italian Einaudi publishing house between the 1930s and the 1950s. It concentrates on a diverse group of individuals, including Bruno Zevi, an architectural historian and politician; Giulio Carlo Argan, an art historian; Italo Calvino, a fiction writer; Giulio Einaudi, a publisher; and Elio Vittorini and Cesare Pavese, both writers and translators. Linking architectural history and historiography within a broader history of ideas, this book proposes four different methods of writing history, defining historiographical genres, modes, and tones of writing that can be applied to history writing to analyze political and social moments in time. It identifies four writing genres: myths, chronicles, history, and fiction, which became accepted as forms of multiple postmodern historical stories after 1957. An important contribution to the architectural debate, Writing Architecture in Modern Italy will appeal to those interested in the history of architecture, history of ideas, and architectural education.

Writing the Materialities of the Past offers a close analysis of how the materiality of the built environment has been repressed in historical thinking since the 1950s. Author Sam Griffiths argues that the social theory of cities in this period was characterised by the dominance of socio-economic and linguistic-cultural models, which served to impede our understanding of time-space relationality towards historical events and their narration. The book engages with studies of historical writing to discuss materiality in the built environment as a form of literary practice to express marginalised dimensions of social experience in a range of historical contexts. It then moves on to reflect on England's nineteenth-century industrialization from an architectural topographical perspective, challenging theories of space and architecture to examine the complex role of industrial cities in mediating social changes in the practice of everyday life. By demonstrating how the authenticity of historical accounts rests on materially emplaced narratives, Griffiths makes the case for the emancipatory possibilities of historical writing. He calls for a re-evaluation of historical epistemology as a primarily socio-scientific or literary enquiry and instead proposes a specifically architectural time-space figuration of historical events to rethink and refresh the relationship of the urban past to its present and future. Written for postgraduate students, researchers and academics in architectural theory and urban studies, Griffiths draws on the space syntax tradition of research to explore how contingencies of movement and encounter construct the historical imagination.

* Introduces a holistic and embodied alternative to visually-driven architecture, demonstrating that it is more capable of sustaining our physical, emotional and psychological wellbeing * Written in an accessible manner that increases interest and understanding in what is a traditionally diffuse subject area * Illustrated with almost 100 black and white images

This book reveals the 'epistemic imposition' of architectural ideas and practices by colonists from the Netherlands in the Dutch East Indies from the late-19th century onwards, exploring the ways in which this came to shape the profession up to the present day in what is now known as Indonesia. The author investigates the scope of these interventions by Dutch colonial agents in relation to existing Javanese building practices, pursuing two main lines of enquiry. The first is to examine the methods of dissemination of Dutch-taught technical knowledge and skills across the Dutch East Indies. The second is to scrutinise the effects of this dissemination upon the formation of architectural knowledge and practice within the colony. Throughout this book, the argument is made that what took place in architecture in the Dutch East Indies involved a process of disseminating building knowledge as a form of 'epistemic imposition' upon the indigenous citizens of the colony - in other words, as an effective instrument of Dutch colonial power. This book will be of interest to architecture academics and students interested in developing a broader global understanding of architecture, especially those interested in decolonising the teaching of architectural history and theory.

This book introduces architectural applications of parametric methods in design, drawing direct connections between each phase of the architectural design process with relevant parametric approaches. Readers will find applications of parametric methods with straightforward explanations of concepts, commands as well as applicable examples for each phase of the architectural design process. In addition to learning about the historical and conceptual background of parametric design, readers can use this book as a go-to source during their day-to-day design practice. Chapters are organized according to different phases of the architectural design process, such as site analysis, spatial organization, skin systems, and environmental performance analyses. Together, they deliver concepts, applications, and examples utilizing in-depth visual guides that explain commands, their outcomes, and their interrelationships. With over 350 images, this book includes examples from the author's own design studio and parametric design teaching in elective classes. Based on the Rhinoceros and Grasshopper platforms, this book is an accessible, yet in-depth, resource for architecture students and early professionals who are considering integrating parametric applications into their design processes.

This book explores environments where art, imagination, and creative practice meet urban spaces at the point where they connect to the digital world. It investigates relationships between urban visualizations, aesthetics, and politics in the context of new technologies, and social and urban challenges toward the Sustainable Development Goals. Responding to questions stemming from critical theory, the book focuses on an interdisciplinary actualization of technological developments and social challenges. It demonstrates how art, architecture, and design can transform culture, society, and nature through artistic and cultural achievements, integration, and new developments. The book begins with the theoretical framework of social aesthetics theories before discussing global contemporary visual culture and technological evolution. Across the 12 chapters, it looks at how architecture and design play significant roles in causing and solving complex environmental transformations in the digital turn. By fostering transdisciplinary encounters between architecture, design, visual arts, and cinematography, this book presents different theoretical approaches to how the arts' interplay with the environment responds to the logic of the constructions of reality. This book will appeal to scholars, researchers, and upper-level students in aesthetics, philosophy, visual cultural studies, communication studies, and media studies with a particular interest in sociopolitical and environmental discussions.

For the past 50 years, the advancements of technology have equipped architects with unique tools that have enabled the development of new computer-mediated design methods, fabrication techniques, and architectural expressions. Simultaneously, in contemporary architecture new frameworks emerged that have radically redefined the traditional conceptions of design, of the built environment, and of the role of architects. Cybernetic Architectures argues that such frameworks have been constructed in direct reference to cybernetic thinking, a thought model that emerged concurrently with the origins of informatics and that embodies the main assumptions, values, and ideals underlying the development of computer science. The book explains how the evolution of the computational perspective in architecture has been parallel to the construction of design issues in reference to the central ideas fostered by the cybernetic model. It unpacks and explains this crucial relationship, in the work of digital architects, between the use of information technology in design and the conception of architectural problems around an informational ontology. This book will appeal to architecture students and scholars interested in understanding the recent transformations in the architectural landscape related to the advent of computer-based design paradigms.

Bringing together ten utopian works that mark important points in the history and an evolution in social and political philosophies, this book not only reflects on the texts and their political philosophy and implications, but also, their architecture and how that architecture informs the political philosophy or social agenda that the author intended. Each of the ten authors expressed their theory through concepts of community and utopian architecture, but each featured an architectural solution at the centre of their social and political philosophy, as none of the cities were ever built, they have remained as utopian literature. Some of the works examined are very well-known, such as Tommaso Campanella's Civitas Solis, while others such as Joseph Michael Gandy's Designs for Cottages, are relatively obscure. However, even with the best known works, this volume offers new insights by focusing on the architecture of the cities and how that architecture represents the author's political philosophy. It reconstructs the cities through a 3-D computer program, ArchiCAD, using Artlantis to render. Plans, sections, elevations and perspectives are presented for each of the cities. The ten cities are: Filarete - Sforzina; Albrecht DA1/4rer - Fortified Utopia; Tommaso Campanella - The City of the Sun; Johann Valentin Andreae - Christianopolis; Joseph Michael Gandy - An Agricultural Village; Robert Owen - Villages of Unity and Cooperation; James Silk Buckingham - Victoria; Robert Pemberton - Queen Victoria Town; King Camp Gillette - Metropolis; and Bradford Peck - The World a Department Store. Each chapter considers the work in conjunction with contemporary thought, the political philosophy and the reconstruction of the city. Although these ten cities represent over 500 years of utopian and political thought, they are an interlinked thread that had been drawn from literature of the past and informed by contemporary thought and society. The book is structured in two parts:

This book engages with the writings of W.G. Sebald, mediated by perspectives drawn from curriculum and architecture, to explore the theme of unsettling complacency and confront difficult knowledge around trauma, discrimination and destruction. Moving beyond overly instrumentalist and reductive approaches, the authors combine disciplines in a scholarly fashion to encourage readers to stretch their understandings of currere. The chapters exemplify important, timely and complicated conversations centred on ethical response and responsibility, in order to imagine a more just and aesthetically experienced world. In the analysis of BILDUNG as human formation, the book illuminates the pertinent lessons to be learned from the works of Sebald and provokes further investigations into the questions of memory, grief, and limits of language. Through its juxtaposition of curriculum and architecture, and using the prose of Sebald as a prism, the book revitalizes questions about education and ethics, probes the unsettling of complacency, and enables conversation around difficult knowledge and ethical responsibility, as well as offering hope and resolve. An important intervention in standard approaches to understanding currere, this book provides essential context for scholars and educators with interests in the history of education, curriculum architectural education and practice studies, memory studies, narrative research, Sebaldian studies, and educational philosophy.

Coding, Shaping, Making combines inspiration from architecture, mathematics, biology, chemistry, physics and computation to look towards the future of architecture, design and art. It presents ongoing experiments in the search for fundamental principles of form and form-making in nature so that we can better inform our own built environment. In the coming decades, matter will become encoded with shape information so that it shapes itself, as happens in biology. Physical objects, shaped by forces as well, will begin to design themselves based on information encoded in matter they are made of. This knowledge will be scaled and trickled up to architecture. Consequently, architecture will begin to design itself and the role of the architect will need redefining. This heavily illustrated book highlights Haresh Lalvani's efforts towards this speculative future through experiments in form and form-making, including his work in developing a new approach to shape-coding, exploring higher-dimensional geometry for designing physical structures and organizing form in higher-dimensional diagrams. Taking an in-depth look at Lalvani's pioneering experiments of mass customization in industrial products in architecture, combined with his idea of a form continuum, this book argues for the need for integration of coding, shaping and making in future technologies into one seamless process. Drawing together decades of research, this book will be a thought-provoking read for architecture professionals and students, especially those interested in the future of the discipline as it relates to mathematics, science, technology and art. It will also interest those in the latter fields for its broader implications.

**Selected in the top eight short-list for the Thought and Criticism category of the FAD Awards 2019** 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.

Marco Frascari believed that architects should design thoughtful buildings capable of inspiring their inhabitants to have pleasurable and happy lives. A visionary Italian architect, academic and theorist, Frascari is best-known for his extraordinary texts, which explore the intellectual, theoretical and practical substance of the architectural discipline. As a student in Venice during the late 1960s, Frascari was taught and mentored by Carlo Scarpa. Later he moved to North America with his family, where he became a fulltime academic. Throughout his academic career, he continued to work on numerous architectural projects, including exhibitions, competition entries, and designs for approximately 35 buildings, a small number of which were built. As a means of (re)constructing the theatre of imaginative theory within which these buildings were created, Sam Ridgway draws on a wide selection of Frascari's texts, including his richly poetic book Monsters of Architecture, to explore the themes of representation, demonstration, and anthropomorphism. Three of Frascari's delightful buildings are then brought to light and interpreted, revealing a sophisticated and interwoven relationship between texts and buildings.

Cognition and the Built Environment argues that interacting with our built environment, as users and as architects, is a cognitive process. It claims that architecture, in its form and meaning, is a basic, embodied level of human cognition. The assumption is that we and our built environment together form an intelligent system, a cognitive feedback loop between us and the world of which we are part. With this as a vantage point, the book discusses the meaning and intelligence of concrete architectural environments as well as the agency of the architect, of his client and of the user. The inquiry oscillates between abstract thought, topological models and cognitive semiotics, between pragmatist philosophy and the professional practice of planning cities, developing projects and using objects. Architecture serves more complex purposes than our caves, paths and landmarks did. Written for students and academics of urban design, urban planning and architectural theory, Cognition and the Built Environment argues that human cognition feeds on the interaction between thought, agency and built environment, and that architecture is the spatial form of this interaction.

The pressing economic, environmental and social crises emanate the need for a redefinition of the dominant views, perspectives and values in the field of architecture. The intellectual production of the last two decades has witnessed an impressive number of new design techniques and conceptual displacements reflecting the dynamic and fluid relation between man and his dwelling space. However, the contemporary market forces are favouring the growth of a star-system in architectural production based on technological innovation, spectacular imagery and formal acrobatics, and are neglecting the social, environmental and moral implications of spatial design. Perhaps the time has come to think anew the possible critical intersections between space and ethos, not only as an answer to the negative consequences of Modernity, but also as a remedy to the negative aspects of globalisation. The aim of the present collective volume is to enliven the ethical dimensions and dilemmas of architecture as they are shaped within the complexity of our times on two levels: the level of critical and reflective discourse and the level of social and cultural reality occasioned by post-industrial modes of production and new technologies. Thirteen distinguished academics and researchers investigate the complex relations between architecture, space and ethics from divergent and inter-disciplinary perspectives: philosophy, sociology, the humanities, the arts, landscape design, environmental design, urban design and architectural history and theory.

German architecture prior to the modern period has received less systemic, analytical study than that of Italy, France, and Britain. Scholarly discussion of broad traditions or continuities within Germanic or Central European facade design is even sparser. Baroque era studies of the region mostly devote themselves to isolated architects, monuments, or movements. Modernism's advent decisively changed this: Germanic architecture enjoyed sudden ascendancy. Yet, even so, study specifically of that region's facades still lagged - nothing compares to the dozens of treatments of Le Corbusier's facade systems, for example, and how these juxtapose with French neoclassical or Italian Renaissance methods. Given the paucity of multi-period studies, one can be forgiven for believing Germany's effervescence of radical, modern works seems unprecedented. This book takes up these multiple quandaries. It identifies and documents a previously unrecognized compositional tradition - characterized here as the 'screen facade' - and posits it as a counter-narrative critiquing the essentialist, 'authentic' canon currently dominant in Western architectural history. By crossing evenly over the dividing line between the historical and modern periods, it offers valuable insights on indigenous roots underlying some aspects of Germany's invigorating early twentieth-century architectural developments. The book chronologically examines 400 years of closely related facades, concentrated in Germany but also found in Austria, the Czech Republic, German-speaking Switzerland, and nearby areas of Central Europe. While nearly 75 buildings are mentioned and illustrated, a dozen are given extensive analysis and the book focuses on the works of three architects - Schinkel, Behrens and Mies. Relationships between examples of these three architects' facades far transcend mere homage amongst masters. Glimmers of the system they eventually codify are apparent as early as at Heidelberg Castle in 1559 and Nurnberg's Rathaus in 1622. The book argues that in Germany, northern Gothic affinities for bisection, intense repetition and rote aggregation intersected with southern Classical affinities for symmetry, hierarchy and centrality, thereby spawning a unique hybrid product - the screen. Instead of graphic formality, this study is guided by on-site perceptions, propositional contrasts, means of approach, interpretive conflicts and emotion and it relates the design of these facades to concepts proposed by contemporary philosophers including Novalis, Hegel, Nietzsche, Freud, Adorno, and, most importantly, Gadamer on hermeneutics.

The Idea of the Cottage in English Architecture is a history of the late Georgian phenomenon of the architect-designed cottage and the architectural discourse that articulated it. It is a study of small buildings built on country estates, and not so small buildings built in picturesque rural settings, resort towns and suburban developments. At the heart of the English idea of the cottage is the Classical notion of retreat from the city to the countryside. This idea was adopted and adapted by the Augustan-infused culture of eighteenth-century England where it gained popularity with writers, artists, architects and their wealthy patrons who from the later eighteenth century commissioned retreats, gate-lodges, estate workers' housing and seaside villas designed to 'appear as cottages'. The enthusiasm for cottages within polite society did not last. By the mid-nineteenth century, cottage-related building and book publishing had slowed and the idea of the cottage itself was eventually lost beneath the Tudor barge-boards and decorative chimneystacks of the Historic Revival. And yet while both designer and consumer have changed over time, the idea of the cottage as the ideal rural retreat continues to resonate through English architecture and English culture.

- Introduces environment-behavior studies for healthcare design research - Explores how evidence-based design theories can be applied and integrated into healthcare design practice - Presents specific environment-behavior theories in the healthcare environment with case studies - Each chapter includes summary, key terms and study questions

Set within an insightful analysis, this book describes the genesis, ideas and ideologies which influenced La Construction des Villes by Le Corbusier. This volume makes the important theoretical work available for the first time in English, offering an interpretation as to how much and in what way his 'essai' may have influenced his later work. Dealing with questions of aesthetic urbanism, La Construction des Villes shows Le Corbusier's intellectual influences in the field of urbanism. Discontent that the script was not sufficiently avant-garde, he abandoned it soon after it was written in the early 20th century. It was only in the late 1970s that American historian H. Allen Brooks discovered 250 pages of the forgotten manuscript in Switzerland. The author of this book, Christoph Schnoor, later discovered another 350 handwritten pages of the original manuscript, consisting of extracts, chapters, and bibliographic notes. This splendid find enabled the re-establishment of the manuscript as Le Corbusier had abandoned it, unfinished, in the spring of 1911. This volume offers an unbiased extension of our knowledge of Le Corbusier and his work. In addition, it reminds us of the urban design innovations of the very early 20th century which can still serve as valuable lessons for a new understanding of contemporary urban design.

Planning is centrally focused on places which are significant to people, including both the built and natural environments. In making changes to these places, planning outcomes inevitably benefit some and disadvantage others. It is perhaps surprising that Actor Network Theory (ANT) has only recently been considered as an appropriate lens through which to understand planning practice. This book brings together an international range of contributors to explore such potential of ANT in more detail. While it can be thought of as a subset of complexity theory, given its appreciation for non-linear processes and responses, ANT has its roots in the sociology of scientific and technology studies. ANT now comprises a rich set of concepts that can be applied in research, theoretical and empirical. It is a relational approach that posits a radical symmetry between social and material actors (or actants). It suggests the importance of dynamic processes by which networks of relationships become formed, shift and have effect. And while not inherently normative, ANT has the potential to strengthen other more normative domains of planning theory through its unique analytical lens. However, this requires theoretical and empirical work and the papers in this volume undertake such work. This is the first volume to provide a full consideration of how ANT can contribute to planning studies, and suggests a research agenda for conceptual development and empirical application of the theory.

The name De Stijl, title of a magazine founded in the Netherlands in 1917, is now used to identify the abstract art and functional architecture of its major contributors: Mondrian, Van Doesburg, Van der Leck, Oud, Wils and Rietveld. De Stijl achieved international acclaim by the end of the 1920s and its paintings, buildings and furniture made fundamental contributions to the modern movement. This book is the first to emphasize the local context of De Stijl and explore its relationship to the distinctive character of Dutch modernism. It examines how the debates concerning abstraction in painting and spatiality in architecture were intimately connected to contemporary developments in the fields of urban planning, advertising, interior design and exhibition design. The book describes the interaction between the world of mass culture and the fine arts.

In the mid-1920s a physiologist, a glass chemist, and a zoo embarked on a project which promised to turn buildings into medical instruments. The advanced chemistry of "Vita" Glass mobilised theories of light and medicine, health practices and glassmaking technology to compress an entire epoch's hopes for a healthy life into a glass sheet - yet it did so invisibly. To communicate its advantage, Pilkington Bros. spared no expense as they launched the most costly and sophisticated marketing campaign in their history. Engineering need for "Vita" Glass employed leading-edge market research, evocative photography and vanguard techniques of advertising psychology, accompanied by the claim: "Let in the Health Rays of Daylight Permanently through "Vita" Glass Windows." This is the story of how, despite the best efforts of two glass companies, the leading marketing firm of the day, and the opinions of leading medical minds, "Vita" Glass failed. However, it epitomised an age of lightness and airiness, sleeping porches, flat roofs and ribbon windows. Moreover, through its remarkable print advertising, it strove to shape the ideal relationship between our buildings and our bodies.

This book introduces architects to a philosopher, Immanuel Kant, whose work was constantly informed by a concern for the world as an evolving whole. According to Kant, in this interconnected and dynamic world, humans should act as mutually dependent and responsible subjects. Given his future-oriented and ethico-politically concerned thinking, Kant is a thinker who clearly speaks to architects. This introduction demonstrates how his ideas bear pertinently and creatively upon the world in which we live now and for which we should care thoughtfully. Kant grounded his enlightened vision of philosophy's mission using an architectural metaphor: of the modest 'dwelling-house'. Far from constructing speculative 'castles in the sky' or vertiginous 'towers which reach to the heavens', he tells us that his humble aim is rather to build a 'secure home for ourselves', one which appropriately corresponds at once to the limited material resources available on our planet, and to our need for firm and solid principles to live by. This book also explores Kant's notions of cosmopolitics, which attempts to think politics from a global perspective by taking into account the geographical fact that the earth is a sphere with limited land mass and natural resources. Given the urgent topicality of sustainable development, these Kantian texts are of particular interest for architects of today. Students of architecture, who are necessarily trained in negotiating between theory and practice, gain much from considering Kant, whose critical project also consisted of testing and exploring the viability of ideas, so as to ascertain to what extent, and crucially, how ideas can have a constructive effect on the whole world, and on us as active agents therein.