Specifically for architects, the third title in the Thinkers for Architects series examines the relevance of Luce Irigaray's work for architecture. Eight thematic chapters explore the bodily, spatio-temporal, political and cultural value of her ideas for making, discussing and experiencing architecture. In particular, each chapter makes accessible Irigaray's ideas about feminine and masculine spaces with reference to her key texts. Irigaray's theory of 'sexed subjects' is explained in order to show how sexuality informs the different ways in which men and women construct and inhabit architecture. In addition, her ideas about architectural forms of organization between people, exterior and interior spaces, touch and vision, philosophy and psychoanalysis are explored. The book also suggests ways in which these strategies can enable architectural designers and theorists to create ethical architectures for the user and his or her physical and psychological needs. Concisely written, this book introduces Irigaray's work to practitioners, academics, undergraduate and postgraduate students in architectural design and architectural history and theory, helping them to understand the value of cross- and inter-disciplinary modes of architectural practice.

David Wang's Architecture and Sacrament considers architectural theory from a Christian theological perspective, specifically, the analogy of being (analogia entis). The book tracks social and cultural reasons why the theological literature tends to be separate from contemporary architecture theory. Wang argues that retrieval of the sacramental outlook embedded within the analogy of being, which informed centuries of art and architecture in the West, can shed light on current architectural issues such as "big box stores," the environmental crisis and the loss of sense of community. The book critiques the materialist basis of current architectural discourse, subsumed largely under the banner of critical theory. This volume on how European ideas inform architectural theory complements Wang's previous book, A Philosophy of Chinese Architecture: Past, Present, Future, and will appeal to architecture students and academics, as well as those grappling with the philosophical moorings of all built environments.

Learning from Failure in the Design Process shows you that design work builds on lessons learned from failures to help you relax your fear of making mistakes, so that you're not paralyzed when faced with a task outside of your comfort zone. Working hands-on with building materials, such as concrete, sheet metal, and fabric, you will understand behaviors, processes, methods of assembly, and ways to evaluate your failures to achieve positive results. Through material and assembly strategies of stretching, casting, carving, and stacking, this book uncovers the issues, problems, and failures confronted in student material experiments and examines built projects that addressed these issues with innovative and intelligent strategies. Highlighting numerous professional practice case studies with over 250 color images, this book will be ideal for students interested in materials and methods, and students of architecture in design studios.

In this fresh and authoritative account John Macarthur presents the eighteenth century idea of the picturesque - when it was a risky term concerned with a refined taste for everyday things, such as the hovels of the labouring poor - in the light of its reception and effects in modern culture. In a series of linked essays Macarthur shows: what the concept of picture does in the picturesque and how this relates to modern theories of the image; how the distaste that might be felt today at the sentimentality of the picturesque was already at play in the eighteenth century; how visual values such as 'irregularity' become the basis of modern architectural planning; how the concept of appropriating a view moves from landscape design into urban design; and why movement is fundamental to picturing the stillness of buildings, cities and landscapes.Drawing on examples from architecture, art and broader culture, John Macarthur's account of this key topic in cultural history, makes engaging reading for all those studying architecture, art history, cultural history or visual studies.

Informing the designs of architects as diverse as Peter Zumthor, Steven Holl, Hans Scharoun and Colin St. John Wilson, the work of Martin Heidegger has proved of great interest to architects and architectural theorists.

The first introduction to Heidegger 's philosophy written specifically for architects and students of architecture introduces key themes in his thinking, which has proved highly influential among architects as well as architectural historians and theorists. This guide familiarizes readers with significant texts and helps to decodes terms as well as providing quick referencing for further reading.

This concise introduction is ideal for students of architecture in design studio at all levels; students of architecture pursuing undergraduate and postgraduate courses in architectural theory; academics and interested architectural practitioners. Heidegger for Architects is the second book in the new Thinkers for Architects series.

The work of Gilles Deleuze and Felix Guattari has been inspirational for architects and architectural theorists in recent years. It has influenced the design work of architects as diverse as Greg Lynn and David Chipperfield, and is regularly cited by avant-gardist architects and by students, but usually without being well understood. The first collaboration between Deleuze and Guattari was Anti-Oedipus: Capitalism and Schizophrenia, which was taken up as a manifesto for the post-structuralist life, and was associated with the spirit of the student revolts of 1968. Their ideas promote creativity and innovation, and their work is wide-ranging, complex and endlessly stimulating. They range across politics, psychoanalysis, physics, art and literature, changing preconceptions along the way. Deleuze & Guattari for Architects is a perfect introduction for students of architecture in design studio at all levels, students of architecture pursuing undergraduate and postgraduate courses in architectural theory, academics and interested architectural practitioners.

The work of Gilles Deleuze and Felix Guattari has been inspirational for architects and architectural theorists in recent years. It has influenced the design work of architects as diverse as Greg Lynn and David Chipperfield, and is regularly cited by avant-gardist architects and by students, but usually without being well understood. The first collaboration between Deleuze and Guattari was Anti-Oedipus: Capitalism and Schizophrenia, which was taken up as a manifesto for the post-structuralist life, and was associated with the spirit of the student revolts of 1968. Their ideas promote creativity and innovation, and their work is wide-ranging, complex and endlessly stimulating. They range across politics, psychoanalysis, physics, art and literature, changing preconceptions along the way. Deleuze & Guattari for Architects is a perfect introduction for students of architecture in design studio at all levels, students of architecture pursuing undergraduate and postgraduate courses in architectural theory, academics and interested architectural practitioners.

In this fresh and authoritative account John Macarthur presents the eighteenth century idea of the picturesque - when it was a risky term concerned with a refined taste for everyday things, such as the hovels of the labouring poor - in the light of its reception and effects in modern culture. In a series of linked essays Macarthur shows: what the concept of picture does in the picturesque and how this relates to modern theories of the image how the distaste that might be felt today at the sentimentality of the picturesque was already at play in the eighteenth century how visual values such as 'irregularity' become the basis of modern architectural planning; how the concept of appropriating a view moves from landscape design into urban design why movement is fundamental to picturing the stillness of buildings, cities and landscapes. Drawing on examples from architecture, art and broader culture, John Macarthur's account of this key topic in cultural history, makes engaging reading for all those studying architecture, art history, cultural history or visual studies.

In this book, Tsiambaos redefines the ground-breaking theory of Greek architect and town planner Constantinos A. Doxiadis (The Form of Space in Ancient Greece) and moves his thesis away from antiquity and ancient architecture, instead arguing that it can only be understood as a theory founded in modernity. In light of this, the author explores Doxiadis' theory in relation to the work of the controversial Greek architect Dimitris Pikionis. This parallel investigation of the philosophical content of Doxiadis' theory and the design principles of Pikionis' work establishes a new frame of reference and creates a valuable and original interpretation of their work. Using innovative cross-disciplinary tools and methods which expand the historical boundaries of interwar modernism, the book restructures the ground of an alternative modernity that looks towards the future through a mirror that reflects the ancient past. From Doxiadis' Theory to Pikionis' Work: Reflections of Antiquity in Modern Architecture is fascinating reading for all scholars and students with an interest in modernism and antiquity, the history and theory of architecture, the history of ideas and aesthetics or town planning theory and design.

The relationship of architecture to the human body is a centuries-long and complex one, but not always symmetrical. This book opens a space for historians of the visual arts, archaeologists, architects, and digital humanities professionals to reflect upon embodiment, spatiality, science, and architecture in premodern and modern cultural contexts. Architecture and the Body, Science and Culture poses one overarching question: How does a period's understanding of bodies as objects of science impinge upon architectural thought and design? The answers are sophisticated, interdisciplinary explorations of theory, technology, symbolism, medicine, violence, psychology, deformity, and salvation, and they have unexpected and fascinating implications for architectural design and history. The new research published in this volume reinvigorates the Western survey-style trajectory from Archaic Greece to post-war Europe with scientifically-framed, body-centred provocations. By adding the third factor-science-to the architecture and body equation, this book presents a nuanced appreciation for architectural creativity and its embeddedness in other sets of social, institutional and political relationships. In so doing, it spatializes body theory and ties it to the experience of the built environment in ways that disturb traditional boundaries between the architectural container and the corporeally contained.

Set within the broader context of post-war Austria and the re-education initiatives set up by the Allied forces, particularly the US, this book investigates the art and architecture scene in Vienna to ask how this can inform our broader understanding of architectural Postmodernism. The book focuses on the outputs of the Austrian artist and architect, Hans Hollein, and on his appropriation as a Postmodernist figure. In Vienna, the circles of radical art and architecture were not distinct, and Hollein's claim that 'Everything is Architecture' was symptomatic of this intermixing of creative practices. Austria's proximity to the so-called 'Iron Curtain' and its post-war history of four-power occupation gave a heightened sense of menace that emerged strongly in Viennese art in the Cold War era. Seen as a collective entity, Hans Hollein's works across architecture, art, writing, exhibition design and publishing clearly require a more diverse, complex and culturally nuanced account of architectural Postmodernism than that offered by critics at the time. Across the five chapters, Hollein's outputs are viewed not as individual projects, but as symptomatic of Austria's attempts to come to terms with its Nazi past and to establish a post-war identity.

Architectures of Transversality investigates the relationship between modernity, space, power, and culture in Iran. Focusing on Paul Klee's Persian-inspired miniature series and Louis Kahn's unbuilt blueprint for a democratic public space in Tehran, it traces the architectonics of the present as a way of moving beyond universalist and nationalist accounts of modernism. Transversality is a form of spatial production and practice that addresses the three important questions of the self, objects, and power. Using Deleuzian and Heideggerian theory, the book introduces the practices of Klee and Kahn as transversal spatial responses to the dialectical tension between existential and political territories and, in doing so, situates the history of the silent, unrepresented and the unbuilt - constructed from the works of Klee and Kahn - as a possible solution to the crisis of modernity and identity-based politics in Iran.

The Routledge Companion to Modernity, Space and Gender reframes the discussion of modernity, space and gender by examining how "modernity" has been defined in various cultural contexts of the twentieth and twenty-first centuries, how this definition has been expressed spatially and architecturally, and what effect this has had on women in their everyday lives. In doing so, this volume presents theories and methods for understanding space and gender as they relate to the development of cities, urban space and individual building types (such as housing, work spaces or commercial spaces) in both the creation of and resistance to social transformations and modern global capitalism. The book contains a diverse range of case studies from the US, Europe, the UK, and Asian countries such as China and India, which bring together a multiplicity of approaches to a continuing and common issue and reinforces the need for alternatives to the existing theoretical canon.

In his new book Absolute Beginners, acclaimed Spanish architect Inaki Abalos explores forms of innovation in architecture. Drawing on diverse materials elaborated during the 20 years since the publication of his best-known book, The Good Life, Abalos examines questions centred on how and why architectural creation - at least the kind that arouses the greatest cultural interest - is strongly linked to philosophical thought, especially to the essay and the aphorism. He guides us to an understanding why innovation - as happens in philosophy - is inextricably linked to a reflection on the past and to the emergence of new ways of appropriating old problems. Absolute Beginners is a single essay written with effort and passion, made for the pure pleasure of composing a new and complex work and understanding the source materials as necessary fragments, while remaining open to adjustments, changes, and bridges between them. Abalos organises his materials like a piece of music into a cohesive composition, to the delight and insight of his readers.

This self-taught Dutch architect was among the most widely copied architects of the 1930s and 1940s. His international influence is all the more amazing when one considers that most of his architecture was built in the provincial town of Hilversum. Travel, word-of-mouth, and literature spread the news of his humane, modern approach to building design. The more than 1,200 bibliographic entries in this work are presented alphabetically by decades and further by genres. Each is summarized, described, and evaluated in the context of a critical overview of Dudok's career. Architectural scholars and students will profit from this comprehensive guide to the international literature on one of the most emulated champions of modern architecture. For too long, much was made in the English-language architectural literature of Germany's pioneer role in developing Modernism. That contribution was undeniably valuable, but the Dutch were unfairly overlooked; however, Dudok's work was not. Hilversum became a magnet for young foreign architects in the 1930s. He cast his spell upon much of continental Europe, the United States and Britain, and throughout the 1940s his style was so widely mimicked that a new adjective was coined: dudoky. This volume will reintroduce the importance of Dudok's work to today's scholars and students.

This book looks at specific instances in the Renaissance, Enlightenment and our own time when architectural ideas and ideas of biological life come into close proximity with each other. These convergences are fascinating and complex, offering new insights into architecture and its role. Establishing architecture as a product of the ascendancy of the position of human life, the author shows here that while architecture is dependent on life forces for its existence, at the same time it must be, at some level, indifferent to the life within it. Life, for its part, privileges itself above all else, and seeks to continuously expand its field of expression. This, then, is the asymmetrical condition, and to understand it is to gain important new theoretical perspectives into the nature of architecture.

Drawing on cultural theory, phenomenology and concepts from Asian art and philosophy, this book reflects on the role of interpretation in the act of architectural creation, bringing an intellectual and scholarly dimension to real-world architectural design practice. For practising architects as well as academic researchers, these essays consider interpretation from three theoretical standpoints or themes: play, edification and otherness. Focusing on these, the book draws together strands of thought informed by the diverse reflections of hermeneutical scholarship, the uses of digital media and studio teaching and practice.

Should architectural criticism be enlightening? Should it help in the creation of a better built environment? Is there a factual basis to it? Does it have a duty to present evidence in the evaluation of a building? Or should it take on what architects say about their designs? In the context of a flat internet, should architectural criticism be able to define best practices? Does it wield the power over who is in and who is out? Architectural criticism, like all human endeavours, is at a crucial juncture. While serious architecture struggles for recognition, much so-called architectural criticism is merely a poorly paid, decorative legitimation for hyperbolic practice. Incisive architectural criticism is rare, while the definition of criticism itself has become opaque. The 2021 International Conference on Architecture Criticism has gathered exceptional papers that define the purposes and methods of architectural criticism: What should be the ethical basis of architectural criticism? Can it be objective in the context of paid content? Should it outline ideal practices? Or what else should it do? All contributions in this book address either the duty or the power of architectural criticism. In both cases, the authors offer the outline of one analysis of an existing building.

Today there are more tools for communication than ever before, yet very little in the way of reflection on how these are being used and even less on what exactly is being conveyed. This issue of AD looks at how architecture is communicated from a cultural perspective. Do the identities of practices or their business-driven branding and promotional efforts resonate with the critical acclaim many architects seek? Has slick image-led media coverage sold the profession short? How is it possible to convey the less visual and haptic qualities of architecture? Can architects be more creative in their communication efforts, making these joyous on their own terms as Le Corbusier did so memorably? Is there really a need to succumb to the world of corporate marketing processes and managerial business jargon? The issue explores notions of editing and curating work in an age of data deluge, and discusses social media as a genuinely alternative space for communication rather than for just repurposing and regurgitating information relayed. The Identity of the Architect encourages the promotion of practices as an integral extension of the very culture they hope to engender through their work. Contributors: Stephen Bayley, Caroline Cole, Adam Nathaniel Furman, Gabor Gallov, Jonathan Glancey, Justine Harvey, Owen Hopkins, Crispin Kelly, Jay Merrick, Robin Monotti, Juhani Pallasmaa, Vicky Richardson, Jenny Sabin, and Austin Williams. Featured architects: Ian Ritchie, BIG, MVRDV, IF_DO and Zaha Hadid Architects

This book traces the ideal of total environmental control through the intellectual and geographic journey of Knud Loenberg- Holm, a forgotten Danish architect who promoted a unique systemic, cybernetic, and ecological vision of architecture in the 1930s. A pioneering figure of the new objectivity and international constructivism in Germany in 1922 and a celebrated peer of radical figures in De Stijl, the Bauhaus, and Russian constructivism, when he emigrated to Detroit in 1923 he introduced the vanguard theory of productivism through his photography, essays, designs, and pedagogy. By following Loenberg- Holm's ongoing matrix of relations until the postwar era with the European vanguards in CIAM and former members of the Structural Study Associates (SSA), especially Fuller, Frederick Kiesler, and C. Theodore Larson, this study shows how their definition of building as a form of environmental control anticipated the contemporary disciplines of industrial ecology, industrial metabolism, and energy accounting.

This book explores the role of silence in how we design, present and experi-ence architecture. Grounded in phenomenological theory, the book builds on historical, theoretical and practical approaches to examine silence as a methodological tool of architectural research and unravel the experiential qualities of the design process. Distinct from an entirely soundless experience, silence is proposed as a material condition organically incorporated into the built and natural landscape. Kakalis argues that, either human or atmospheric, silence is a condition of waiting for a sound to be born or a new spatio-temporal event to emerge. In silence, therefore, we are attentive and attuned to the atmos-phere of a place. The book unpacks a series of stories of silence in religious topographies, urban landscapes, film and theatre productions and architec-tural education with contributed chapters and interviews with Jeff Malpas and Alberto Perez-Gomez. Aimed at postgraduate students, scholars and researchers in architectural theory, it shows how performative and atmospheric qualities of silence can build a new understanding of architectural experience.

Contents:
1. The Role of Environmental Variety 2. Keeping Animals Indoors 3. Urban Environmental Metabolism 4. Urban Design and the Microclimate 5. Outdoor Comfort 6. Dynamic Acoustics and Architecture 7. Intermediate Environments 8. Environmental Diversity and Natural Lighting Strategies 9. Daylight Perception 10. Spatial Variability and Thermal Comfort 11. Social and Environmental Convergence 12. Climatic Moderation in 20th Century Architecture 13. Diversified Life of Buildings.

This book takes the position that the dynamics of the architectural environment is a key aspect of good design, yet poorly understood. Environmental variety is a design characteristic closely related to our experience of architecture - an architecture of the senses. Each chapter demonstrates how an understanding of a particular context or environmental characteristic in dynamic terms informs design. The book is an antidote to the misconceptions of 'optimum' environmental performance or fixed criteria, instead embracing the richness of environmental variety.

In With Reference, Soo Chan of SCDA explores the fundamentals of architecture - going back to inspirations and precedents, examining basic building blocks and core values - in search of a universal spatial vocabulary for contemporary practice. As practice becomes increasingly globalised and fragmented, the applied design language has to absorb nuances of climate, craft, culture, and place. Through a rich diagrammatic analysis of seminal projects by SCDA as well as masters of architecture around the world, With Reference argues for the revival of a rule-based design language.

Management of Construction introduces all aspects of management practice to students and professionals based in the construction industry. It is also important for those involved in allied fields such as design, project development, and site monitoring and inspection. The book addresses each stage of the construction project from conception to completion, giving a perspective on the whole life cycle often missing from textbooks. The author also balances engineering concerns with the human resource and personal aspects of construction management that are so important to the successful outcome of a project. Structured on the project life cycle Covers design-build, build-own-operate-transfer, and construction management Discusses environmental issues important in today's construction practice