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.

This book is about the love and hate relations that humans establish with their habitat, which have been coined by discerning modern thinkers as topophilia and topophobia. Whilst such affiliations with the topos, our manmade as well as natural habitat, have been traced back to antiquity, a wide range of twentieth-century cases are studied here and reflected upon by dwelling on this framework. The book provides a timely reminder that the qualitative aspects of the topos, sensual as well as intellectual, should not be disregarded in the face of rapid technological development and the mass of building that has occurred since the turn of the millennium.

Topophilia and Topophobia offers speculative and historical reflections on the human habitat of the century that has just passed, authored by some of the world s leading scholars and architects, including Joseph Rykwert, Yi-Fu Tuan, Vittorio Gregotti and Jean-Louis Cohen. Human habitats, ranging broadly from the cities of the twentieth century, highbrow modern architecture both in Western countries and in Asia, to non-architect/planner designed vernacular settlements and landscapes are reviewed under the themes of topophilia and topophobia across the disciplines of architecture, landscape studies, philosophy, human geography and urban planning.

This book is about the love and hate relations that humans establish with their habitat, which have been coined by discerning modern thinkers as topophilia and topophobia. Whilst such affiliations with the topos, our manmade as well as natural habitat, have been traced back to antiquity, a wide range of twentieth-century cases are studied here and reflected upon by dwelling on this framework. The book provides a timely reminder that the qualitative aspects of the topos, sensual as well as intellectual, should not be disregarded in the face of rapid technological development and the mass of building that has occurred since the turn of the millennium. Topophilia and Topophobia offers speculative and historical reflections on the human habitat of the century that has just passed, authored by some of the world's leading scholars and architects, including Joseph Rykwert, Yi-Fu Tuan, Vittorio Gregotti and Jean-Louis Cohen. Human habitats, ranging broadly from the cities of the twentieth century, highbrow modern architecture both in Western countries and in Asia, to non-architect/planner designed vernacular settlements and landscapes are reviewed under the themes of topophilia and topophobia across the disciplines of architecture, landscape studies, philosophy, human geography and urban planning.

Louis I. Kahn was one of the most influential architects, thinkers and teachers of his time. This book examines the important relationship between his work and the city of Rome, whose ancient ruins inspired in him a new design methodology. Structured into two main parts, the first includes personal essays and contributions from the architect's children, writers and other designers on the experience and impact of his work. The second part takes a detailed look at Kahn's residency in Rome, its effects on his thinking, and how his influence spread throughout Italy. It analyses themes directly linked to his architecture, through interviews with teachers and designers such as Franco Purini, Paolo Portoghesi, Giorgio Ciucci, Lucio Valerio Barbera and the architects of the Rome Group of Architects and City Planners (GRAU). Rome and the Legacy of Louis I. Kahn expands the current discourse on this celebrated twentieth-century architect, ideal for students and researchers interested in Kahn's work, architectural history, theory and criticism.

Northern Ireland has a complex urbanism with multilayered socio-spatial politics. In this environment, issues of communication, self-representation and expression of identity are central to the experience of urban space and architecture where the dichotomy of division and shared living are spatially exercised in everyday life. Unlike other studies in the area, this book focuses on the everyday experiences of local communities in both public and private spheres - issues of 'shareness' - challenging conventional approaches to divided cities. The book aims to layer its narratives of architectural and social developments as an urban experience in post-conflict settings over the past two decades.

Rebuilding the Houses of Parliament explores the history of the UK Houses of Parliament in Westminster from an environmental design perspective, and the role David Boswell Reid played in the development of the original ventilation and climate control system in parliament. This book retraces and critically examines the evolution of the environmental principles underlying the design of the Houses of Parliament, engaging with fundamental questions about air quality, energy efficiency and thermal comfort. This yields insights into the historic methods of environmental design that were characterised by physical experimentation and post-occupancy evaluation. Rebuilding the Houses of Parliament examines the history of the buildings' operation, studying the practical reality of its performance in use and offers the opportunity to reflect on current challenges faced by architects and engineers adapting to the realities of climate change. This book is an ideal read for academics, politicians and practitioners with an interest in architectural history and heritage, theory, engineering and conservation.

Architecture's role is becoming increasingly limited to serving the all-pervasive system of globalised capitalism and becoming a constituent, complicit part of its mechanism. The Resistant Object of Architecture addresses this problem, and does so in a way that represents a marked departure from predominant responses which, as the book shows, do not address the core issue. The book addresses this problem by focusing on the question "what is architecture?," and responds to this question by developing the immanent structural logic of architecture that enables it to work not only as an instrumental thinking practice, but as a practice of creative thinking. This means that it alone determines its issues, problems, and priorities, and precisely because of that it has the capacity and cogency to destabilise, indeed pierce holes in the system in which it operates. The Resistant Object of Architecture draws on various theoretical sources, from the psychoanalysis of Jacques Lacan and the philosophy of Alain Badiou, to contemporary architectural theory. In contrast to the predominant view of today, it demonstrates that architecture has an affirmative, transformative capacity. This book is an ideal read for those interested in architectural theory and history, analysis of contemporary architecture, and philosophy of architecture.

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.

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.

Landscape Architecture Criticism offers techniques, perspectives and theories which relate to landscape architecture, a field very different from the more well-known domains of art and architectural criticism. Throughout the book, Bowring delves into questions such as, how do we know if built or unbuilt works of landscape architecture are successful? What strategies are used to measure the success or failure, and by whom? Does design criticism only come in written form? It brings together diverse perspectives on criticism in landscape architecture, establishing a substantial point of reference for approaching design critique, exploring how criticism developed within the discipline. Beginning with an introductory overview to set the framework, the book then moves on to historical perspectives, the purpose of critique, theoretical positions ranging from aesthetics, to politics and experience, unbuilt projects, techniques, and communication. Written for professionals and academics, as well as for students and instructors in landscape architecture, it includes strategies, diagrams, matrices, and full colour illustrations to prompt discussion and provide a basis for exploring design critique.

In the era of the Anthropocene, site matters are more pressing than ever. Building on the concepts, theories, and multi-disciplinary approaches raised in the first edition, this publication strives to address the changes that have taken place over the last 15 years with new material to complement and re-position the initial volume. Reaching across design disciplines, this highly illustrated anthology assembles essays from architects, landscape architects, urban designers, planners, historians, and artists to explore ways to physically and conceptually engage site. Thoughtful discourse and empirically grounded pieces combine to provide the language and theory to contextualize the meanings of site in the built environment. The increasingly complex hybridity of constructed environments today demands new tools for thinking about and working with site. Drawing contributions from outside and within the traditional design disciplines, this edition will trace important developments in site thinking with new essays on topics such as climate change, landscape as infrastructure, shifts from global to planetary urbanization debates, and the proliferation of participatory site transformation practices. Edited by two leading practitioners and academics, Site Matters juxtaposes timeless contributions from individuals including Elizabeth Meyer, Robert Beauregard, and Robin Dripps with original new writings from Peter Marcuse, Jane Wolff, Neil Brenner, and Thaisa Way, amongst others, to recontextualize and reignite the debate around site. An ideal text for students, academics, and researchers interested in site and design theory.

The human body has been used as both a model and metaphor in architecture since antiquity. This book explores how it has been an inspiration for the exterior form of architectural colossi through the years. It considers the body as a source of architectural and artistic representation and in doing so explores the results of such practices in colossal sculptures and architectural praxis within a philosophical discourse of space, time and media. Architectural Colossi and the Human Body discusses the role of Platonic and Cartesian philosophy and how philosophers such as Heidegger and Merleau-Ponty, and theoreticians such as Frascari and Pallasmaa, have seen, described and analysed the human body and the role of architecture and perception. Drawing upon three key case studies and by employing theoretical ideas of Venturi and others, this book will provide an understanding of the role of anthromorphism and the relation and use of the human body with reference to selected architects and artists.

Through cross-disciplinary explorations of and engagements with nature as a forming part of architecture, this volume sheds light on the concepts of both nature and architecture. Nature is examined in a raw intermediary state, where it is noticeable as nature, despite, but at the same time through, man's effort at creating form. This is done by approaching nature from the perspective of architecture, understood, not only as concrete buildings, but as a fundamental human way both of being in, and relating to, the world. Man finds and forms places where life may take place. Consequently, architecture may be understood as ranging from the simple mark on the ground and primitive enclosure, to the contemporary megalopolis. Nature inheres in many aesthetic forms of expression. In architecture, however, nature emerges with a particular power and clarity, which makes architecture a raw kind of art. Even though other forms of art, as well as aesthetic phenomena outside the arts, are addressed, the analogy to architecture will be evident and important. Thus, by using the concept of 'raw' as a focal point, this book provides new approaches to architecture in a broad sense, as well as other aesthetic and artistic practices, and will be of interest to readers from different fields of the arts and humanities, spanning from philosophy and theology to history of art, architecture and music.

Every city has its unique and valuable identity, this identity is revealed through its physical and visual form, it is seen through the eyes of its residents and users. The city develops over time, and its identity evolves with it. Reflecting the rapid and constant changes the city is subjected to, Architecture and Arts, is the embodiment of the cultural, historical, and economical characteristics of the city. This conference was dedicated to the investigation of the different new approaches developed in Architecture and Contemporary arts. It has focused on the basis of urban life and identities. This volume provides discussions on the examples and tendencies in dealing with urban identities as well as the transformation of cities and urban cultures mentioned in terms of their form, identity, and their current art. Contemporary art, when subjected to experiments, continues to be produced in various directions, to be consumed and to put forward new ideas. Art continuously renews itself, from new materials to different means of communication, from interactive works to computer games, from new approaches to perceptional paradigms and problems of city and nature of the millennium. This is an Open Access ebook, and can be found on www.taylorfrancis.com.

In the past two decades economic bubbles inflated and architectural spending around the globe reached fever pitch. In both well-established centers of capital accumulation and far--flung locales, audacious building projects sprang up, while the skyscraper, heretofore more commonly associated with American capitalism, seemed as if it might pack up and relocate to Dubai and Shanghai. Of course, much has changed in the past couple of years. In formerly free-spending Dubai, the tallest building in the world is now is named after the president of Abu Dhabi after he stepped in with last--minute debt financing. In cities across the United States, housing prices have nose-dived and cleared lots sit ready for commercial redevelopment that likely won't take place for another decade. Similar stories are not hard to find in many other nations. Architecture firms that swelled in flush days are jettisoning employees at a startling rate. In the context of economic instability (and its attendant social and political consequences), this edited volume brings together scholars, critics, and architects to discuss the present state of uncertainty in the practice and discipline of architecture. The chapters are organized into three main areas of inquiry: economics, practice, and technology. Within this larger framework, authors explore issues of security, ecological design, disaster architecture, the future of architectural practice, and the ethical obligations of the social practice of design. In doing so, it argues that this period has actually afforded architecture a valuable moment of self-reflection, where alternative directions for both the theory and practice of architecture might be explored rather than continuing with an approach which was so nurtured by capitalist prosperity and affluence.

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.

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.

Embedding memories into landscape. Measuring moisture, pressure and wind speed within a bedroom. Drawing power with a potato. These are but a few of the preoccupations described within this book. 'Devices' is a manual celebrating the invention of architectural and spatial machines. Nostalgic, metaphorical, analytical or even the down-right daft, each of the illustrated pieces demonstrates the potential for spatial occupation, leading to new territories in architectural design. A detailed analysis of each device and a 'recipe' for its construction is provided, including working drawings, assembly diagrams, materials and component descriptions. The reader will not only gain an insight into the technical makeup of the devices, but will have all the information at their fingertips to design and construct ground-breaking innovations of their own. With over 40 devices, this book will inspire architects, designers, engineers and artists alike.

Drawing Parallels expands your understanding of the workings of architects by looking at their work from an alternative perspective. The book focuses on parallel projections such as axonometric, isometric, and oblique drawings. Ray Lucas argues that by retracing the marks made by architects, we can begin to engage more directly with their practice as it is only by redrawing the work that hidden aspects are revealed. The practice of drawing offers significantly different insights, not easily accessible through discourse analysis, critical theory, or observation. Using James Stirling, JJP Oud, Peter Eisenman, John Hejduk, and Cedric Price as case studies, Lucas highlights each architect's creative practices which he anaylses with reference to Bergson's concepts of temporality and cretivity, discussing ther manner in which creative problems are explored and solved. The book also draws on a range of anthropological ideas including skilled practice and enchantment in order to explore why axonometrics are important to architecture and questions the degree to which the drawing convention influences the forms produced by architects. With 60 black-and-white images to illustrate design development, this book would be an essential read for academics and students of architecture with a particular interest in further understanding the inner workings of the architectural creative process.

Around 1800, one of the most influential architectural concepts of the last 250 years emerged-that of built spaces as technical devices. Climate, morality, and comfort are the three main themes of this study, and each is vividly examined in separate chapters through synchronous comparison and with the help of examples. The emergence of corresponding metaphors, knowledge, and construction forms is traced over a period of about 70 years. The author focuses particularly on the operative dimension of architecture. Thus, the book provides a historical perspective on a key topic for the future of architecture. The book is aimed at readers interested in architecture, technology or the cultural history of building and living.

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.

The Victorian Art School documents the history of the art school in the nineteenth century, from its origins in South Kensington to its proliferation through the major industrial centres of Britain. Charles Rennie Mackintosh's Glasgow School of Art, together with earlier examples in Manchester and Birmingham demonstrate an unprecedented concern for the provision of plentiful light and air amidst the pollution of the Victorian city. As theories of design education and local governance converged, they also reveal the struggle of the provincial city for cultural independence from the capital. Examining innovations in the use of new technologies and approaches in the design of these buildings, The Victorian Art School offers a unique and explicitly environmental reading of the Victorian city. It examines how art schools complemented civic 'Improvement' programmes, their contribution to the evolution of art pedagogy, the tensions that arose between the provincial schools and the capital, and the role they would play in reimagining the relationship between art and public life in a rapidly transforming society. The architects of these buildings synthesised the potential of art with the perfection of the internal environment, indelibly shaping the future cultural life of Britain.

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.

"Architectures: Modernism and After "surveys the history of the building from the advent of industrialization to the cultural imperatives of the present moment. The collection of essays brings together international art and architectural historians to consider a range of topics that have influenced the shape, profile, and aesthetics of the built environment from 1851 to the present time, showing how buildings and our responses to them are embedded in the cultural process and the ethics of production.

This volume presents crucial "moments" in the history of the field when the architecture of the past is made to respond to new and changing cultural circumstances. In doing so, "Architectures: Modernism and After" provides a view of architectural history as part of a continuing dialogue between aesthetic criteria and social and cultural imperatives.

Choreographing Space is a reflection on the collaborative work of New York City-based architecture practice, e+i studio. In the book, the founders of the practice, Eva Perez de Vega and Ian Gordon, outline a fascinating selection of projects from the studio, which will take the reader on a journey and give them a key understanding of the important work of this dynamic and forward-thinking architecture and design practice. This insightful book offers both a retrospective and speculative outlook. Retrospectively, it explores the people, places and practices that have influenced each project. For certain projects it also proposes speculative post-human scenarios, to support the idea that the impact of architecture on its environment involves a reconning with the ecologies it replaces. The book is uniquely structured. Organised into four parts, each part opens with a philosophical text that acts as an insightful prelude to the topics, questions and reflections posed by each project. Each part concludes with a speculative scenario, where one of the projects is imagined thriving in a future where life is now almost extinct. These are not intended as apocalyptic or even nostalgic scenarios, but rather as affirmative alternatives to the bleak imaginary arising from the world's current climate crisis. Choreographing Space involves the self-reflexive act of selecting the conceptual strands of each project and organising them under headings, or species. Much like the concept of 'speciation' where living creatures are categorised into seemingly related groups, under their 'genus'. This type of grouping synthesizes the ideas, intents and hopes for each project, and looks into how it could have been implemented differently. Nothing is static, or definite; projects are in continuous process of becoming, as they continue to relate to evolving ecologies of thought.