Mid-Century Modernism in Turkey studies the unfolding of modern architecture in Turkey during the 1950s and 1960s. The book brings together scholars who have carried out extensive research on post-WWII modernism in a global context. The authors situate Turkish architectural case studies within an international framework during this period, providing a close reading of how architectural culture responded to ubiquitous post-war ideas and ideals, and how it became intertwined with politics of modernization and urbanization. This book contributes to contemporary scholarship to reconsider post-war architecture, beyond canonical explanations.

Architecture is conventionally seen as being synonymous with building. In contrast, this book introduces and defines a new category - the unbuildable. The unbuildable involves projects that are not just unbuilt, but cannot be built. This distinct form of architectural project has an important and often surprising role in architectural discourse, working not in opposition to the buildable, but frequently complementing it. Using well-known examples of early Soviet architecture - Tatlin's Tower in particular - Nerma Cridge demonstrates the relevance of the unbuildable, how it relates to current notions of seriality, copying and reproduction, and its implications for contemporary practice and discourse in the computational age. At the same time it offers a fresh view of our preconceptions and expectations of early Soviet architecture and the Constructivist Movement.

De Re Metallica brings together a wide variety of perspectives on metal use in the Middle Ages, a topic that has received less systematic scholarly attention than it deserves, given its central importance for medieval culture. Because of its strength, beauty, and prestige, metal figured prominently in many medieval contexts, from the military and utilitarian to the architectural and liturgical. Metal was a crucial ingredient in weapons and waterpipes, rose windows and reliquaries, coinage and jewelry. The 23 essays presented here, from an international team of scholars, explore the production and use of such objects, from the early Middle Ages to the sixteenth century, and from the British Isles, Iceland, and Scandinavia, to France, Germany, Spain and Italy. This thematic, chronological, and geographical scope will make this volume into a valuable resource for historians of art, technology, and culture.

This previously unpublished work is essential reading for anyone who has followed Marco Frascari's scholarship and teachings over the last three decades. It also provides the perfect introduction for anyone new to his writings. As ever, Frascari does not offer prescriptive tools and frameworks to enact his theories of drawing and imagination; instead, he teaches how to build one's own through individual practice. An illuminating introduction places the text in a wider context, providing the reader with a fascinating and important context and understanding to this posthumous work. Frascari's sketchbooks are reproduced faithfully in full colour to provide the reader with a remarkable insight into the design process of this influential mind.

Directly confronting the nature of contemporary architectural work, this book is the first to address a void at the heart of architectural discourse and thinking. For too long, architects have avoided questioning how the central aspects of architectural "practice" (professionalism, profit, technology, design, craft, and building) combine to characterize the work performed in the architectural office. Nor has there been a deeper evaluation of the unspoken and historically-determined myths that assign cultural, symbolic, and economic value to architectural labor. The Architect as Worker presents a range of essays exploring the issues central to architectural labor. These include questions about the nature of design work; immaterial and creative labor and how it gets categorized, spatialized, and monetized within architecture; the connection between parametrics and BIM and labor; theories of architectural work; architectural design as a cultural and economic condition; entrepreneurialism; and the possibility of ethical and rewarding architectural practice. The book is a call-to-arms, and its ultimate goal is to change the practice of architecture. It will strike a chord with architects, who will recognize the struggle of their profession; with students trying to understand the connections between work, value, and creative pleasure; and with academics and cultural theorists seeking to understand what grounds the discipline.

Fluid Space and Transformational Learning presents a critique of the interlocking questions of 'school architecture' and education and attempts to establish a field of questioning that aspectualises and intersects concepts, theories and practices connected with the contemporary school building and the deschooling of learning and of the space within and through which it takes place. Tying together the historicity of architectural theory, criticism and practice and the plural dynamic of social fields and sciences, this book outlines the qualities and modalities of experiential fields of transformational learning. The three qualities of space that are highlighted along the way - activated, polyphonic and playful space - as they emerge (without being instrumentalised) through architecturalised spatial modalities - flexibility, variability, interactivity, taut fluid polyphony, multiplicity, transcendence of boundaries - tend to construct and establish a school environment rich in heretical socio-spatial codes. Meshing cooperative, participatory, intrapsychic and interpsychic dimensions, they invite the factors of learning to a creative, imponderable, transformational disorder and deconstruct dominant conditioned reflexes of a disciplinary, methodical and productive order.

Expanding his collected essays on architectural theory and criticism, Chris Abel pursues his explorations across disciplinary and regional boundaries in search of a deeper understanding of architecture in the evolution of human culture and identity formation. From his earliest writings predicting the computer-based revolution in customized architectural production, through his novel studies on 'tacit knowing' in design or hybridization in regional and colonial architecture, to his radical theory of the 'extended self', Abel has been a consistently fresh and provocative thinker, contesting both conventions and intellectual fashions. This revised third edition includes a new introduction and six additional chapters by the author covering a broad range of related topics, up to recent concerns with genetic design methods and virtual selves. Together with the former essays, the book presents a unique global perspective on the changing cultural issues and technologies shaping human identities and the built environment in diverse parts of the world, both East and West.

Narrative Architecture explores the postmodern concept of narrative architecture from four perspectives: thinking, imagining, educating, and designing, to give you an original view on our postmodern era and architectural culture. Authors Sylvain De Bleeckere and Sebastiaan Gerards outline the ideas of thinkers, such as Edmund Husserl, Paul Ricoeur, Emmanuel Levinas, and Peter Sloterdijk, and explore important work of famous architects, such as Daniel Libeskind and Frank Gehry, as well as rather underestimated architects like Gunter Behnisch and Sep Ruf. With more than 100 black and white images this book will help you to adopt the design method in your own work.

Narrative Architecture explores the postmodern concept of narrative architecture from four perspectives: thinking, imagining, educating, and designing, to give you an original view on our postmodern era and architectural culture. Authors Sylvain De Bleeckere and Sebastiaan Gerards outline the ideas of thinkers, such as Edmund Husserl, Paul Ricoeur, Emmanuel Levinas, and Peter Sloterdijk, and explore important work of famous architects, such as Daniel Libeskind and Frank Gehry, as well as rather underestimated architects like Gunter Behnisch and Sep Ruf. With more than 100 black and white images this book will help you to adopt the design method in your own work.

Sir James Stirling was arguably the greatest British architect of the twentieth century. This book provides the most comprehensive critical survey of Stirling's work to date, charting the development of his ideas from his formative years, through his partnership with James Gowan, on to his period in practice as sole partner; and finally, his partnership with Michael Wilford. Using archival material, extensive interviews with his partners and others who worked for him, together with analytical examination of key buildings, this detailed critical examination explains his philosophy, working method and design strategy. In doing so, it sheds new light on the atelier structure of his office and who did what on his major buildings. Geoffrey Baker is the first to analyse in depth the articulation systems used in major projects undertaken by Stirling. He confirms that the Staatsgalerie complex at Stuttgart does not demonstrate Stirling's interest in post modernism but rather an enhanced sensitivity towards context informed by his growing allegiance to the classical canon. Baker explains how this important development in his work, powerfully influenced by Karl Friedrich Schinkel, is consummated in perhaps the finest of Stirling's uncompleted works, the extension to London's National Gallery. In a discussion of his mature works, Baker explains how Stirling's work can be understood in terms of several interconnected ideas. These include surrealism, historicism, myth and metaphor, inconsistency and ambiguity, bi-lateral symmetry, the garden, rusticity and arcadia, and the archetype, seen as the repository of the collective architectural memory. As well as discussing his interests and those who influenced Stirling, the book compares his oeuvre with that of the pioneers of modern architecture, Mies van der Rohe, Frank Lloyd Wright, Alvar Aalto and Le Corbusier. This book charts a remarkable career, and offers invaluable insights not only into the masterly, timeless architecture, but also into the man himself: charismatic, irreverent, courageous, serious; sometimes rude, often stubborn, belligerent, yet gentle. He was endlessly inventive and deeply dedicated to his art, producing buildings that reflect all of the above, buildings that are magnificent and ultimately humane.

Why is it that modern architects and planners - these benevolent and socially visionary experts - have created environments that can make one feel so uneasy? Using a philosophical and psycho-analytical approach, this book critically examines expert knowledge within architecture and urban planning. Its point of departure is the gap between visions and realities, intentions and outcomes in planning, with particular focus on projects in Sweden that try to create an urban atmosphere. Finding insights from the work of Sigmund Freud and his followers, the book argues that urban planning during the 20th century is a neurotic activity prone to produce a type of alienation. Besides trying to understand the gap between intentions and outcomes in planning, the book also discusses how to define the concept of the urban, juxtaposing different knowledge traditions; contrasting the positivistic theory of space syntax with poetic-dialectical approaches, the planner view of the city with that of the flAcneur, examining texts by Virginia Woolf and August Strindberg.

* Expands on the well-established discussion of the translation from drawings to buildings and fills a lacuna in current scholarly publications, questioning the significance of the lives of drawings and models after construction. * Includes emerging, well-known and world-renowned scholars in the fields of architectural history and theory and curatorial practices, the 35 contributions are from Canada, UK, USA, Sweden, Greece, Netherlands, France, Italy, Portugal, Denmark, Germany, Japan, Colombia and New Zealand * Includes the practices of architects such as Sir John Soane, Superstudio, Viollet-le-Duc, Frank Lloyd Wright, Wajiro Kon, German Samper Gnecco, A+PS, Mies van der Rohe and Renzo Piano.

Bringing together a broad range of contributors including art, architecture, and design academic theorists and historians, in addition to practicing artists, architects, and designers, this volume explores the place of the sketchbook in contemporary art and architecture. Drawing upon a diverse range of theories, practices, and reflections common to the contemporary conceptualisation of the sketchbook and its associated environments, it offers a dialogue in which the sketchbook can be understood as a pivotal working tool that contributes to the creative process and the formulation and production of visual ideas. Along with exploring the theoretical, philosophical, psychological, and curatorial implications of the sketchbook, the book addresses emergent digital practices by way of examining contemporary developments in sketchbook productions and pedagogical applications. Consequently, these more recent developments question the validity of the sketchbook as both an instrument of practice and creativity, and as an educational device. International in scope, it not only explores European intellectual and artistic traditions, but also intercultural and cross-cultural perspectives, including reviews of practices in Chinese artworks or Islamic calligraphy, and situational contexts that deal with historical examples, such as Roman art, or modern practices in geographical-cultural regions like Pakistan.

Originally published in Italian in 2010, this book is the first to address the theory of atmospheres in a thorough and systematic way. It examines the role of atmospheres in daily life, and defines their main characteristics. Outlining the typical phenomenological situations in which we experience atmospheres, it assesses their impact on contemporary aesthetics. It puts forward a philosophical approach which systematises a constellation of affects and climates, finds patterns in the emotional tones of different spaces (affordances) and assesses their impact on the felt body. It also critically discusses the spatial turn invoked by several of the social sciences, and argues that there is a need for a non-psychologistic rethinking of the philosophy of emotions. It provides a history of the term 'atmosphere' and of the concepts anticipating its meaning (genius loci, aura, Stimmung, numinous, emotional design and ambiance), and examines the main ontological characteristics of atmospheres and their principal phenomenological characteristics. It concludes by showing how atmospheres affect our emotions, our bodies' reactions, our state of mind and, as a result, our behaviour and judgments. Griffero assesses how atmospheres are more effective than we have been rationally willing to admit, and to what extent traditional aesthetics, unilaterally oriented towards art, has underestimated this truth.

Taking the view that aesthetics is a study grounded in perception, the essays in this volume exhibit many sides of the perceptual complex that is the aesthetic field and develop them in different ways. They reinvigorate our understanding of such arts as music and architecture; they range across the natural landscape to the urban one; they reassess the place of beauty in the modern environment and reassess the significance of the contributions to aesthetic theory of Kant and Dewey; and they broach the kinds of meanings and larger understanding that aesthetic engagement with the human environment can offer. Written over the past decade, these original and innovative essays lead to a fresh encounter with the possibilities of aesthetic experience, one which has constantly evolved, moving in recent years in the direction of what Berleant terms 'social aesthetics', which enhances human-environmental integration and sociality.

The spread of newly 'invented' places, such as theme parks, shopping malls and revamped historic areas, necessitates a redefinition of the concept of 'place' from an architectural perspective. In this interdisciplinary work, these invented places are categorized according to the different phenomenological experiences they are able to provide. The book explores how such 'cloning spaces' use placemaking and placemarketing in attempt to replicate the characteristics found in urban spaces traditionally viewed as successful, and how these places can affect society's environmental perception. A range of international empirical studies illustrates how such invented places can be perceived as legitimate urban spaces, and contribute towards the quality of life in today's cities.

Focusing on six leading contemporary architects: Peter Eisenman, Frank Gehry, Bernard Tschumi, Zaha Hadid, Rem Koolhaas and Steven Holl, this book puts forward a unique and insightful analysis of "neo-avant-garde" architecture. It discusses the spectacle and excess which permeates contemporary architecture in reference to the present aesthetic tendency for image making, but does so by applying the tectonic of theatricality discussed by the 19th-century German architect Gottfried Semper. In doing so, it breaks new ground by opening up a dialogue between the study of the past and the design of the present. The work of each discussed architect is seen as addressing a historiographical problem. To this end, and this is the second important aspect of this book, the chosen buildings are discussed in terms of the thematic of the culture of building (the tectonic of column and wall for example) rather the formal, and this through a discussion that is informed by the latest available theories. Having set the aesthetic implication of the processes of the digitalization of architecture, the book's conclusion highlights "strategies" by which architecture might postpone the full consequences of digitalization, and thus the becoming of architecture as ornament on its own right.

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.

Ordnance: War + Architecture & Space investigates how strategies of warfare occupy and alter built and other landscapes. Ranging across the modern period from the eighteenth century to the present day, the book presents a series of case-studies which operate in and between a number of settings and scales, from the infrastructures of the battlefield to the logistics of the domestic realm. The book explores the patterns, forms and systems that articulate militarised spaces, excavates how these become re-circulated and reconfigured within other domains and discusses the often ephemeral legacies and residues of these architectures. The complexities of unpicking the spaces of the 'fog of war' are addressed by an inter-disciplinary approach which deploys graphic and textual analyses and techniques to provide new and unique perspectives on a hitherto underexplored aspect of architectural and spatial discourse: the tactics and programmes through which the built environment has historically been made to respond to the imperatives and threats of conflict and, in the context of the 'war on terror', continues to be so in ever more pervasive ways.

Louis I. Kahn is widely known as an architect of powerful buildings. But although much has been said about his buildings, almost nothing has been written about Kahn as an unconventional teacher and philosopher whose influence on his students was far-reaching. Teaching was vitally important for Kahn, and through his Master's Class at the University of Pennsylvania, he exerted a significant effect on the future course of architectural practice and education. This book is a critical, in-depth study of Kahn's philosophy of education and his unique pedagogy. It is the first extensive and comprehensive investigation of the Kahn Master's Class as seen through the eyes of his graduate students at Penn.

This book sheds light on the contemporary status of phenomenological discourse in architecture and investigates its current scholastic as well as practical position. Starting with a concise introduction to the philosophical grounds of phenomenology from the points of view of Husserl, Merleau-Ponty and Heidegger, it presents a critical reading of the works of some leading figures of architectural phenomenology in both theory and practice, such as Christian Norberg-Schultz, Kenneth Frampton, Juhani Pallasmaa, and Steven Holl. Highlighting the main challenges of the current phenomenological discourse in architecture, this book formulates a more articulated method of 'phenomenological interpretation' - dubbed 'phenomenal phenomenology' as a new and innovative method of interpreting the built environment. Finally, using Tadao Ando's Langen Foundation Museum as a case study, it investigates the architect's contribution to phenomenological discourse, interprets and analyzes the Museum building using the new heuristic method, and thus provides a clear example of its applicability. By introducing a clear, articulated, and practical method of interpretation, this book is of interest to academics and students analyzing and studying architecture and the built environment at various scales.

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.

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.

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.