Metropolitan Indigenous Cultural Centres have become a focal point for making Indigenous histories and contemporary cultures public in settler-colonial societies over the past three decades. While there are extraordinary success stories, there are equally stories that cause concern: award-winning architecturally designed Indigenous cultural centres that have been abandoned; centres that serve the interests of tourists but fail to nourish the cultural interests of Indigenous stakeholders; and places for vibrant community gathering that fail to garner the economic and politic support to remain viable. Indigenous cultural centres are rarely static. They are places of 'emergence', assembled and re-assembled along a range of vectors that usually lie beyond the gaze of architecture. How might the traditional concerns of architecture - site, space, form, function, materialities, tectonics - be reconfigured to express the complex and varied social identities of contemporary Indigenous peoples in colonised nations? This book, documents a range of Indigenous Cultural Centres across the globe and the processes that led to their development. It explores the possibilities for the social and political project of the Cultural Centre that architecture both inhibits and affords. Whose idea of architecture counts when designing Indigenous Cultural Centres? How does architectural history and contemporary practice territorialise spaces of Indigenous occupation? What is architecture for Indigenous cultures and how is it recognised? This ambitious and provocative study pursues a new architecture for colonised Indigenous cultures that takes the politics of recognition to its heart. It advocates an ethics of mutual engagement as a crucial condition for architectural projects that design across cultural difference. The book's structure, method, and arguments are dialogically assembled around narratives told by Indigenous people of their pursuit of public recognition, spatial justice, and architectural presence in settler dominated societies. Possibilities for decolonising architecture emerge through these accounts.

This book proposes a system structure in architectural design that conceptualises a systemic level in architecture and construction that lies between general construction techniques and specific architectural results. In order to make such a system structure operational, the elaboration of a model seeks on the one hand to analytically grasp and on the other hand to make it possible to actively work with system structures as part of architectural design. Kasper Sanchez Vibaek's ambition is to bridge an apparent and increasing gap between architectural ideation and the way these ideas are brought to life as real physical manifestations of our built environment. In line with the so-called systems sciences the book rejects the prevalent scientific view that the degree of detail 'automatically' enhances understanding and explanative power of complex phenomena. It establishes the idea of a systems view on buildings and architectural design that through the use of flexible constituent elements facilitates discussion and decision making about how architectural wholes are appropriately put together as assemblages of what the current and future building industry is capable of producing. Based on several years of detailed research into the architectural consequences of construction when exposed to industrialised production techniques and systems, Architectural System Structures represents a new way to look at what is already there and is useful for all those interested in the processes of architectural creation and realisation specifically attached to time, place and cultural context.

Drawing upon the literature of landscape geography, tourism studies, cultural studies, visual studies and philosophy, this book offers a multi-disciplinary approach to understanding the interaction between urban environments and tourists. This is a necessary prerequisite for cities as they make themselves into enticing destinations and compete for tourists' attention. It argues that tourists make sense of, and draw meaningful conclusions about, the places in which they tour based upon the interpretation of the signs or elements encountered within the built environment, elements such as graffiti and lamp posts. The writings of the American pragmatist Charles S. Peirce on interpretation provide the theoretical model for explaining the way in which mind and world, or thoughts and objects, result in tourists interacting with place. This theoretical framework elucidates three applied studies undertaken with foreign visitors to the Hungarian capital of Budapest. Based upon extensive ethnographic field work, these studies focus on tourists' interpretation of the urban landscape, with particular attention paid to the encounters with national culture, the role of architecture and the importance of the prosaic in urban tourism.

Built environment surrounds us for 90% of our lives but only now are we realising its influence on the environment, our health, and how we think, feel and behave both individually and socially. Spirit & Place shows how to work towards a sustainable environment through socially inclusive processes of placemaking, and how to create places that are nourishing psychologically and physically, to soul and spirit as well as body. This book's unique arguments identify important, but often unrecognised, principles and illustrate their applicability in a wide range of situations, price-ranges and climates. It shows how to reconcile the apparently incompatible demands of environmental, economic and social sustainability; how to moderate climate to make places of delight, and realign social pressures so places both support society and maximise economic viability. Thought provoking and easy to understand, Christopher Day uses everyday examples to relate his theories to practice and our experience.

This volume presents the views and findings of behaviorally and biologically oriented investigators invited to participate in The University of Iowa's biennial learning and memory symposium. While chapters vary in their scope and depth of coverage, they are all amply referenced so that researchers, teachers, and students can obtain background information appropriate to their respective needs.

How does it feel to live in a 'haunted home'? How do people negotiate their everyday lives with the experience of uncanny, anomalous or strange events within the domestic interior? What do such experiences reveal of the intersection between the material, immaterial and temporal within the home? How do people interpret, share and narrate experiences which are uncertain and unpredictable? What does this reveal about contested beliefs and different forms of knowledge? And about how people 'co-habit' with ghosts, a distinctive self - other relationship within such close quarters? This book sets out to explore these questions. It applies a non-reductive middle-ground approach which steers beyond an uncritical exploration of supernatural experiences without explaining them away by recourse only to wider social and cultural contexts. The book attends to the ways in which households in England and Wales understand their experience of haunting in relation to ideas of subjectivity, gender, materiality, memory, knowledge and belief. It explores home as a place both dynamic and differentiated, illuminating the complexity of 'everyday' experience - the familiarity of the strange as well as the strangeness of the familiar - and the ways in which home continues to be configured as a distinctive space.

As the first inclusive study of how women have shaped the modern Indian built environment from the independence struggle until today, this book reveals a history that is largely unknown, not only in the West, but also in India. Educated in the 1930s and 1940s, the very first women architects designed everything from factories to museums in the post-independence period. The generations that followed are now responsible for metro systems, shopping malls, corporate headquarters, and IT campuses for a global India. But they also design schools, cultural centers, religious pilgrimage hotels, and wildlife sanctuaries. Pioneers in conserving historic buildings, these women also sustain and resurrect traditional crafts and materials, empower rural and marginalized communities, and create ecologically sustainable architectures for India. Today, although women make up a majority in India's ever-increasing schools of architecture, it is still not easy for them, like their Western sisters, to find their place in the profession. Recounting the work and lives of Indian women as not only architects, but also builders and clients, opens a new window onto the complexities of feminism, modernism, and design practice in India and beyond. Set in the design centers of Mumbai and Delhi, this book is also one of the first histories of architectural education and practice in two very different cities that are now global centers. The diversity of practices represented here helps us to imagine other ways to create and build apart from "starchitecture." And how these women negotiate tradition and modernity at work and at home is crucial for understanding gender and modern architecture in a more global and less Eurocentric context. In a country where female emancipation was important for narratives of the independence movement and the new nation-state, feminism was, nonetheless, eschewed as divisive and damaging to the nationalist cause. Class, caste, tradition, and family restricted-but also created-opportunities for the very first women architects in India, just as they do now for the growing number of young women professionals today.

This book poses spatial violence as a constitutive dimension of architecture and its epistemologies, as well as a method for theoretical and historical inquiry intrinsic to architecture; and thereby offers an alternative to predominant readings of spatial violence as a topic, event, fact, or other empirical form that may be illustrated by architecture. Exploring histories of and through architecture at sites across the globe, the chapters in the book blur the purportedly distinctive borders between war and peace, framing violence as a form of social, political, and economic order rather than its exceptional interruption. Regarding space and violence as co-constitutive, the book's collected essays critique modernization and capitalist accumulation as naturalized modes for the extraction of violence from everyday life. Focusing on the mediation of violence through architectural registers of construction, destruction, design, use, representation, theory, and history, the book suggests that violence is not only something inflicted upon architecture, but also something that architecture inflicts. In keeping with Walter Benjamin's formulation that there is no document of civilization that is not also a document of barbarism, the book offers "spatial violence" as another name for "architecture" itself. This book was previously published as a special issue of Architectural Theory Review.

• Showcases today's most influential architectural voices who have been instrumental in shifting the direction of design in the last decade • Includes perspectives of influential architects, practitioners and academics, as well as critics including philosophers • Case studies and essays engage and deploy a range of topics and technologies from speculative realism and Object Oriented Ontology to high computation, Big Data, parametricism, digital fabrication, artificial intelligence, augmented reality and virtual reality • A rigorous account of architecture's theoretical and technological concerns over the last decade

Gordon Strachan, author of Jesus the Master Builder (Floris Books) explores the magnificent structure of Chartres Cathedral, and examines the influences on the medieval master builders. Using Chartres as a starting point, Dr Strachan suggests that the origins of the Gothic style may lie in Islamic architecture. He goes on to consider how the experience of a particular architectural space affects us, and how sacred geometry works. Beautifully illustrated, this is an inspiring and informative book for anyone interested in religious architecture and spirituality.

This volume reframes the development of US-American avant-garde art of the long 1960s—from minimal and pop art to land art, conceptual art, site-specific practices, and feminist art—in the context of contemporary architectural discourses. Susanneh Bieber analyzes the work of seven major artists, Donald Judd, Robert Grosvenor, Claes Oldenburg, Robert Smithson, Lawrence Weiner, Gordon Matta-Clark, and Mary Miss, who were closely associated with the formal-aesthetic innovations of the period. While these individual artists came to represent diverse movements, Bieber argues that all of them were attracted to the field of architecture—the work of architects, engineers, preservationists, landscape designers, and urban planners—because they believed these practices more directly shaped the social and material spaces of everyday life. This book’s contribution to the field of art history is thus twofold. First, it shows that the avant-garde of the long 1960s did not simply develop according to an internal logic of art but also as part of broader sociocultural discourses about buildings and cities. Second, it exemplifies a methodological synthesis between social art history and poststructural formalism that is foundational to understanding the role of art in the construction of a more just and egalitarian society. The book will be of interest to scholars working in art history, architecture, urbanism, and environmental humanism.

At a time when climate and ethics have become so important to architectural debate, this book proposes an entirely new way for architects to engage with these core issues. Drawing on Tetsuro Watsuji's (1889-1960) philosophy, the book illuminates climate not as a collection of objective natural phenomena, but as a concrete form of bond in which "who we are"-the subjective human experience-is indivisibly intertwined with the natural phenomena. The book further elucidates the inter-personal nature of climatic experiences, criticizing a view that sees atmospheric effects of climate under the guise of personal experientialism and reinforcing the linkage between climate and ethos as the appropriateness of a setting for human affairs. This ethical premise of climate stretches the horizon of sustainability as pertaining not only to man's solitary relationship with natural phenomena-a predominant trend in contemporary discourse of sustainability-but also to man's relationship with man. Overcoming climatic determinism-regional determinism, too-and expanding the ethics of the inter-personal to the level where the whole and particulars are joined through the dialectics of the mutually-negating opposites, Jin Baek develops a new thesis engaging with the very urgent issues inherent in sustainable architecture. Crucially, the book explores examples that join climate and the dynamics of the inter-personal, including: Japanese vernacular residential architecture the white residential architecture of Richard Neutra contemporary architectural works and urban artifacts by Tadao Ando and Aldo Rossi Beautifully illustrated, this book is an important contribution to the discourse which surrounds architecture, climate and ethics and encourages the reader to think more broadly about how to respond to the current challenges facing the profession.

At a time when climate and ethics have become so important to architectural debate, this book proposes an entirely new way for architects to engage with these core issues. Drawing on Tetsuro Watsuji's (1889-1960) philosophy, the book illuminates climate not as a collection of objective natural phenomena, but as a concrete form of bond in which "who we are"-the subjective human experience-is indivisibly intertwined with the natural phenomena. The book further elucidates the inter-personal nature of climatic experiences, criticizing a view that sees atmospheric effects of climate under the guise of personal experientialism and reinforcing the linkage between climate and ethos as the appropriateness of a setting for human affairs. This ethical premise of climate stretches the horizon of sustainability as pertaining not only to man's solitary relationship with natural phenomena-a predominant trend in contemporary discourse of sustainability-but also to man's relationship with man. Overcoming climatic determinism-regional determinism, too-and expanding the ethics of the inter-personal to the level where the whole and particulars are joined through the dialectics of the mutually-negating opposites, Jin Baek develops a new thesis engaging with the very urgent issues inherent in sustainable architecture. Crucially, the book explores examples that join climate and the dynamics of the inter-personal, including: Japanese vernacular residential architecture the white residential architecture of Richard Neutra contemporary architectural works and urban artifacts by Tadao Ando and Aldo Rossi Beautifully illustrated, this book is an important contribution to the discourse which surrounds architecture, climate and ethics and encourages the reader to think more broadly about how to respond to the current challenges facing the profession.

First published in 1977, this volume was intended as a sourcebook for designers and attempts to specify the ingredients necessary to develop a design program rather than postulate a model program for which no consensus exists. As such it filled a void in the existing literature which seldom covered programming with much depth and provides technical aids to guide designers. The author attempts to integrate the pioneering contributions from others in order to identify the substance of programming for designers and represents a culling of the strategies and techniques from the social, behavioural and management sciences - building on the developing efforts of other disciplines.

This book focuses on Luis Frois, a 16th-century Portuguese Jesuit and chronicler, who recorded his impressions of Japanese gardens, cities and building practices, tea-drinking rituals, Japan's unification efforts, cultural traditions, and the many differences between Europe and Japan in remarkable manuscripts almost lost to time. This research also draws on other Portuguese descriptions from contemporary sources spanning the years 1543 - 1597, later validated by Japanese history and iconography. Importantly, explorer Jorge Alvares recorded his experiences of discovery, prompting St. Francis Xavier to visit Japan in 1549, thus ushering in the "Christian Century" in Japan. During this long period of accord and reciprocal curiosity, the Portuguese wrote in excess of 1500 pages of letters to European Jesuits that detail their impressions of the island nation-not to mention their observations of powerful public figures such as Oda Nobunaga, Toyotomi Hideyoshi, and Sen no Rikyu. In addition to examining these letters, the authors translated and researched early descriptions of 23 gardens in Kyoto and Nara and 9 important cities-later visited by the authors, sketched, photographed and compared with the imagery painted on 16th-century Japanese screens. However, the data gathered for this project was found mainly within five large volumes of Frois' Historia do Japao (2500 pages) and his Treaty on Contradictions-two incomparable anthropological works that were unpublished until the mid-20th century for reasons detailed herein. His volumes continue to be explored for their insightful observations of places, cultural practices, and the formidable historical figures with whom he interacted. Thus, this book examines the world's first globalization efforts that resulted in profitable commerce, the introduction of Portuguese firearms that changed Japan's history, scientific advances, religious expansion, and many artistic exchanges that have endured the centuries.

This text brings together a unique collection of writing by a leading researcher and critic which outlines the evolution of the environmental dimension of architectural theory and practice in the past twenty-five years. It deals with the transformation of the environmental design field which was brought about by the growth of energy awareness in the 1970s and 1980s, and places environmental issues in the broader theoretical and historical context in architecture.

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.

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

This book investigates the interconnections between textile and architecture via a variety of case studies from the Middle Ages through the twentieth century and from diverse geographic contexts. Among the oldest human technologies, building and weaving have intertwined histories. Textile structures go back to Palaeolithic times and are still in use today and textile furnishings have long been used in interiors. Beyond its use as a material, textile has offered a captivating model and metaphor for architecture through its ability to enclose, tie together, weave, communicate, and adorn. Recently, architects have shown a renewed interest in the textile medium due to the use of computer-aided design, digital fabrication, and innovative materials and engineering. The essays edited and compiled here, work across disciplines to provide new insights into the enduring relationship between textiles and architecture. The contributors critically explore the spatial and material qualities of textiles as well as cultural and political significance of textile artifacts, patterns, and metaphors in architecture. Textile in Architecture is organized into three sections: "Ritual Spaces," which examines the role of textiles in the formation and performance of socio-political, religious, and civic rituals; "Public and Private Interiors" explores how textiles transformed interiors corresponding to changing aesthetics, cultural values, and material practices; and "Materiality and Material Translations," which considers textile as metaphor and model in the materiality of built environment. Including cases from Morocco, Samoa, France, India, UK, Spain, the Ancient Andes and the Ottoman Empire, this is essential reading for any student or researcher interested in textiles in architecture through the ages.

This book is unique in its attempt to explore the many ways we have of thinking about buildings. In particular it raises questions about the kinds of knowledge we have and will need in designing, making and enjoying our buildings. At the very least this book provides an overview of the fragmented construction industry, making it a vital purchase for all construction related students. However, the author has written for a wider audience making the book an essential guide for those interested in the form of buildings or the deliberate ways in which people build them.

Architecture and Adaptation discusses architectural projects that use computational technology to adapt to changing conditions and human needs. Topics include kinetic and transformable structures, digitally driven building parts, interactive installations, intelligent environments, early precedents and their historical context, socio-cultural aspects of adaptive architecture, the history and theory of artificial life, the theory of human-computer interaction, tangible computing, and the social studies of technology. Author Socrates Yiannoudes proposes tools and frameworks for researchers to evaluate examples and tendencies in adaptive architecture. Illustrated with more than 50 black and white images.

Architecture is a powerful medium for representing, ordering and classifying the world, and understanding the use of space is fundamental to archaeological inquiry. Architecture and Order draws on the work of archaeologists, social theorists and architects to explore the way in which people relate to the architecture which surrounds them. In many societies, houses and tombs have encoded cultural meanings and values which are invoked and recalled through the practices of daily life. Chapters include explorations of the early farming r archi*eye of Europe, from before the use of metals, to the Classical and Medieval worlds of the Mediterranean and Europe. Research of the recent past and present include an overview of hunter-gatherers' camp organization, a reassessment of the use of space amongst the Dogon of West Africa and an examination of mental disorders relating to the use of space in Britain. The volume goes beyond the implication that culture determines form to develop an approach that integrates meaning and practice.

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.

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.

- Presents the basics of design practice through twelve real-life ethical scenarios - Provides professional resources in solving the dilemma from several perspectives followed by discussion questions and suggested additional resources - Includes practice‐based topics such as contracts and project delivery methods and soft skills such as effective communication - Encourages architecture and design students to become ethical professionals ready to contribute effectively to design teams and to ask the right questions