Drawing conceptually and directly on music notation, this book investigates landscape architecture's inherent temporality. It argues that the rich history of notating time in music provides a critical model for this under-researched and under-theorised aspect of landscape architecture, while also ennobling sound in the sensory appreciation of landscape. A Musicology for Landscape makes available to a wider landscape architecture and urban design audience the works of three influential composers - Morton Feldman, Gyoergy Ligeti and Michael Finnissy - presenting a critical evaluation of their work within music, as well as a means in which it might be used in design research. Each of the musical scores is juxtaposed with design representations by Kevin Appleyard, Bernard Tschumi and William Kent, before the author examines four landscape spaces through the development of new landscape architectural notations. In doing so, this work offers valuable insights into the methods used by landscape architects for the benefit of musicians, and by bringing together musical composition and landscape architecture through notation, it affords a focused and sensitive exploration of temporality and sound in both fields.

Phenomenology, Materiality, Cybernetics, Palimpsest, Cyborgs, Landscape Urbanism, Typology, Semiotics, Deconstruction - the minefield of theoretical ideas that students must navigate today can be utterly confusing, and how do these theories translate to the design studio? Landscape Theory in Design introduces theoretical ideas to students without the use of jargon or an assumption of extensive knowledge in other fields, and in doing so, links these ideas to the processes of design. In five thematic chapters Susan Herrington explains: the theoretic groundings of the theory of philosophy, why it matters to design, an example of the theory in a work of landscape architecture from the twentieth and twenty-first centuries, debates surrounding the theory (particularly as they elaborate modern and postmodern thought) and primary readings that can be read as companions to her text. An extensive glossary of theoretical terms also adds a vital contribution to students' comprehension of theories relevant to the design of landscapes and gardens. Covering the design of over 40 landscape architects, architects, and designers in 111 distinct projects from 20 different countries, Landscape Theory in Design is essential reading for any student of the landscape.

Times of Creative Destruction is about the years that followed the end of WWII, one of the most seminal and dramatic epochs in human history, during which extraordinary star-buildings were born, cities exploded, and an unprecedented world of a 'Third Ecology' emerged. Never before was there such a flurry of daring mega-constructions, such daring spatial acrobatics, 'star' buildings by star architects attained by star developers, mega-constructions, technological feats, and flourishing spatial acrobatics. But, for all its exhilarating creativity, this was also an era of unanticipated, intractable, irreversible destruction reducing the uniqueness and diversity of cultural, social and ecological peaks and valleys of our world, to a 'desert flatland', environmental inequality and unhappiness. This book critically discusses and revaluates these contradictory events, bringing together and commenting on a selection of shorter key texts by Tzonis and Lefaivre, the product of a rare research and writing partnership. The texts, published between the early 1960s and the present, are significant as documents that inform about the period. They are also important and timely because of their critical and influential role in the debates of this era, both creative and destructive.

Colour and Light: Spatial Experience describes the coherent interaction of light and colour in the spatial context. It explains the nature of light to colour specialists, and the nature of colour to light specialists, simultaneously conveying an understanding that light and colour must be thought of together. In addition, it brings out the apparent contradictions between the practically based knowledge of craftsmen, engineers and designers, and the theoretically based knowledge of academics in various disciplines. Including background context, facts and possible approaches, the book provides a basic understanding of light and colour, and their significance for humans in the spatial context.

Architecture of Resistance investigates the relationship between architecture, politics and power, and how these factors interplay in light of the Palestinian/Israeli conflict. It takes Palestine as the key ground of spatial exploration, looking at the spaces between people, boundary lines, documents and maps in a search for the meaning of architecture of resistance. Stemming from the need for an alternative discourse that can nourish the Palestinian spaces of imagination, the author reinterprets the land from a new perspective, by stripping it of the dominant power of lines to expose the hidden dynamic topography born out of everyday Palestine. It applies a hybrid approach of research through design and visual documentary, through text, illustrations, mapping techniques and collages, to capture the absent local narrative as an essential component of spatial investigation.

Glenn Murcutt is an internationally acclaimed Australian architect who for five years taught a series of master studios for graduate architecture students at the University of Washington. This book combines examples of the students' studio work with edited transcripts of Murcutt's public lectures and sessions with students, professionals, and Finnish architect Juhanni Pallasamaa. Essays set the studios into the context of an inquiry about the local practice of a global architecture. The studio work shows an application, in the Northwest environment, of Murcutt's fundamental principles. These projects often make evident architecture that has a precise engagement with local conditions and the natural environment. Structures and material details take their measure from an industrial craft of making. The collected studio work shows a full progression from site sketches through detail development, in drawings and models. Jim Nicholls is a senior lecturer in the Department of Architecture, College of Built Environments, University of Washington.

Examining discomfort's physical, emotional, conceptual, psychological and aesthetic dimensions, the contributors to this volume offer an alternate, cultural approach to the study of architecture and the built environment. By attending to a series of disparate instances in which architecture and discomfort intersect, On Discomfort offers a fresh reading of the negotiations that define architecture's position in modern culture. The essays do not chart comfort's triumph so much as discomfort's curious dispersal into practices that form 'modern life' - and what that dispersion reveals of both architecture and culture. The essays presented in this volume illuminate the material culture of discomfort as it accrues to architecture and its history. This episodic analysis speaks to a range of disciplinary fields and interdisciplinary subjects, extending our understanding of the domestication of interiors (and objects, cities and ideas); and the conditions under which - by intention or accident - they discomfort.

Emulation is a challenging middle ground between imitation and invention. The idea of rivaling by means of imitation, as old as the Aenead and as modern as Michelangelo, fit neither the pessimistic deference of the neoclassicists nor the revolutionary spirit of the Romantics. Emulation thus disappeared along with the Renaissance humanist tradition, but it is slowly being recovered in the scholarship of Roman art. It remains to recover emulation for the Renaissance itself, and to revivify it for modern practice. Mayernik argues that it was the absence of a coherent understanding of emulation that fostered the fissuring of artistic production in the later eighteenth century into those devoted to copying the past and those interested in continual novelty, a situation solidified over the course of the nineteenth century and mostly taken for granted today. This book is a unique contribution to our understanding of the historical phenomenon of emulation, and perhaps more importantly a timely argument for its value to contemporary practice.

Disability, Space, Architecture: A Reader takes a groundbreaking approach to exploring the interconnections between disability, architecture and cities. The contributions come from architecture, geography, anthropology, health studies, English language and literature, rhetoric and composition, art history, disability studies and disability arts and cover personal, theoretical and innovative ideas and work. Richer approaches to disability - beyond regulation and design guidance - remain fragmented and difficult to find for architectural and built environment students, educators and professionals. By bringing together in one place some seminal texts and projects, as well as newly commissioned writings, readers can engage with disability in unexpected and exciting ways that can vibrantly inform their understandings of architecture and urban design. Most crucially, Disability, Space, Architecture: A Reader opens up not just disability but also ability - dis/ability - as a means of refusing the normalisation of only particular kinds of bodies in the design of built space. It reveals how our everyday social attitudes and practices about people, objects and spaces can be better understood through the lens of disability, and it suggests how thinking differently about dis/ability can enable innovative and new kinds of critical and creative architectural and urban design education and practice.

The Living Tradition of Architecture explores the depth of architecture as it takes flesh in the living tradition of building, dwelling and thinking. This is a timely appraisal of the field by some of its foremost contributors. Beyond modern misconceptions about tradition only relating to things past and conducive to a historicist vision, the essays in this volume reveal tradition as a living continuity and common ground of reference for architecture. This collection of essays brings together world-leading scholars, practicing architects and educators, Alberto Perez-Gomez, Christian Frost, Dagmar Weston, Daniel Libeskind, David Leatherbarrow, Eric Parry, Gabriele Bryant, Joseph Rykwert, Karsten Harries, Kenneth Frampton, Mari Hvattum, Patrick Lynch, Robin Middleton, Stephen Witherford, and Werner Oechslin, in a single celebratory publication edited by Jose de Paiva and dedicated to Dalibor Vesely. This book provides a unique initiative reflecting the group's understanding of the contemporary situation, revealing an ongoing debate of central relevance to architecture.

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.

House and home are words routinely used to describe where and how one lives. This book challenges predominant definitions and argues that domesticity fundamentally satisfies the human need to create and inhabit a defined place in the world. Consequently, house and home have performed numerous cultural and ontological roles, and have been assiduously represented in scripture, literature, art, and philosophy. This book presents how the search for home in an unpredictable world led people to create myths about the origins of architecture, houses for their gods, and house tombs for eternal life. Turning to more recent topics, it discusses how writers often used simple huts as a means to address the essentials of existence; modernist architects envisioned the capacity of house and home to improve society; and the suburban house was positioned as a superior setting for culture and family. Throughout the book, house and home are critically examined to illustrate the perennial role and capacity of architecture to articulate the human condition, position it more meaningfully in the world, and assist in our collective homecoming.

In the age of post-digital architecture and digital materiality, This Thing Called Theory explores current practices of architectural theory, their critical and productive role. The book is organized in sections which explore theory as an open issue in architecture, as it relates to and borrows from other disciplines, thus opening up architecture itself and showing how architecture is inextricably connected to other social and theoretical practices. The sections move gradually from the specifics of architectural thought - its history, theory, and criticism - and their ongoing relation with philosophy, to the critical positions formulated through architecture's specific forms of expression, and onto more recent forms of architecture's engagement and self-definition. The book's thematic sessions are concluded by and interspersed with a series of shorter critical position texts, which, together, propose a new vision of the contemporary role of theory in architecture. What emerges, overall, is a critical and productive role for theory in architecture today: theory as a proposition, theory as task and as a 'risk' of architecture.

Disability, Space, Architecture: A Reader takes a groundbreaking approach to exploring the interconnections between disability, architecture and cities. The contributions come from architecture, geography, anthropology, health studies, English language and literature, rhetoric and composition, art history, disability studies and disability arts and cover personal, theoretical and innovative ideas and work. Richer approaches to disability - beyond regulation and design guidance - remain fragmented and difficult to find for architectural and built environment students, educators and professionals. By bringing together in one place some seminal texts and projects, as well as newly commissioned writings, readers can engage with disability in unexpected and exciting ways that can vibrantly inform their understandings of architecture and urban design. Most crucially, Disability, Space, Architecture: A Reader opens up not just disability but also ability - dis/ability - as a means of refusing the normalisation of only particular kinds of bodies in the design of built space. It reveals how our everyday social attitudes and practices about people, objects and spaces can be better understood through the lens of disability, and it suggests how thinking differently about dis/ability can enable innovative and new kinds of critical and creative architectural and urban design education and practice.

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.

Architectural Design and Ethics offers both professional architects and architecture students a theoretical base and numerous suggestions as to how we might rethink our responsibilities to the natural world and design a more sustainable future for ourselves. As we find ourselves on the steep slope of several exponential growth curves - in global population, in heat-trapping atmospheric gases, in the gap between the rich and poor, and in the demand for finite resources, Fisher lays down a theory of architecture based on ethics and explores how buildings can and do provide both social and moral dimensions. The book also has practical goals, demonstrating how architects can make better and more beautiful buildings whilst nurturing more responsible, sustainable development. Architectural Design and Ethics will prove an invaluable text not only to those in the architecture field, but to anyone simply interested in the ethical issues surrounding our built environment.

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.

This collection is inspired by the transdisciplinary possibilities posed by the connections between space and justice. Drawing on a variety of theoretical influences that include Henri Lefebvre, Gilles Deleuze and Felix Guattari, Doreen Massey, Gillian Rose, Walter Benjamin, Elias Canetti, Antonio Negri and Yan Thomas, the contributors to this book conduct a series of jurisprudential, aesthetic and political inquiries into 'just' modes of occupying space, and the ways in which space comes under the signs of law and justice. Bringing together leading critical legal scholars with theorists and practitioners from other disciplines within the humanities, Spaces of Justice investigates unexplored associations between law and architectural theory, the visual arts, geography and cultural studies. The book contributes to the ongoing destabilisation of the boundaries between law and the broader humanities and will be of considerable interest to scholars and students with an interest in the normative dimensions of law's 'spatial turn'.

This book explores how the weather and city-form impact the mind, and how city-form and mind interact. It builds on Merleau-Ponty's contention that mind, the human body and the environment are intertwined in a singular composite, and on Walter Benjamin's suggestion that mind and city-form, in mutual interaction, through history, have set the course of civilization. Bringing together the fields of philosophy, urbanism, geography, history, and architecture, the book shows the association of existentialism with prevalence of mood disorder in Northern Europe at the close of Little Ice Age. It explains the implications of city-form and traces the role of the myths and allegories of urban design as well as the history of gender projection onto city-form. It shows how urbanization in Northern Europe provided easier access to shelter, yet resulted in sunlight deprivation, and yielded increasing incidence of depression and other mental disorder among the European middle-class. The book uses the examples of Kierkegaard, Nietzsche, Dostoevsky and Kafka, to show how walking through the streets, squares and other urban voids became the informal remedy to mood disorder, a prominent trait among founders of modern Existentialism. It concludes by describing how the connection of anguish and violence is relevant to winter depression in cities, in North America in particular.

Part-Architecture presents a detailed and original study of Pierre Chareau's Maison de Verre through another seminal modernist artwork, Marcel Duchamp's Large Glass. Aligning the two works materially, historically and conceptually, the book challenges the accepted architectural descriptions of the Maison de Verre, makes original spatial and social accounts of its inhabitation in 1930s Paris, and presents new architectural readings of the Large Glass. Through a rich analysis, which incorporates creative projects into history and theory research, the book establishes new ways of writing about architecture. Designed for politically progressive gynaecologist Dr Jean Dalsace and his avant-garde wife, Annie Dalsace, the Maison de Verre combines a family home with a gynaecology clinic into a 'free-plan' layout. Screened only by glass walls, the presence of the clinic in the home suggests an untold dialogue on 1930s sexuality. The text explores the Maison de Verre through another radical glass construction, the Large Glass, where Duchamp's complex depiction of unconsummated sexual relations across the glass planes reveals his resistance to the marital conventions of 1920s Paris. This and other analyses of the Large Glass are used as a framework to examine the Maison de Verre as a register of the changing history of women's domestic and maternal choices, reclaiming the building as a piece of female social architectural history. The process used to uncover and write the accounts in the book is termed 'part-architecture'. Derived from psychoanalytic theory, part-architecture fuses analytical, descriptive and creative processes, to produce a unique social and architectural critique. Identifying three essential materials to the Large Glass, the book has three main chapters: 'Glass', 'Dust' and 'Air'. Combining theory text, creative writing and drawing, each traces the history and meaning of the material and its contribution to the spaces and sexuality of the Large Glass and the Maison de Verre. As a whole, the book contributes important and unique spatial readings to existing scholarship and expands definitions of architectural design and history.

Architectural education is under pressure to meet the demands of an evolving construction industry and to cater to the increasingly varied career destinations of graduates. How should architectural education respond to these professional challenges? How can students be better prepared for professional practice? These questions are the focus of this book, which brings together contributions from a wide range of authors, from both the UK and the USA, working in the fields of architectural education, architectural practice and educational research.

In The Empty Place: Democracy and Public Space Teresa Hoskyns explores the relationship of public space to democracy by relating different theories of democracy in political philosophy to spatial theory and spatial and political practice. Establishing the theoretical basis for the study of public space, Hoskyns examines the rise of representative democracy and investigates contemporary theories for the future of democracy, focusing on the Chantal Mouffe's agonistic model and the civil society model of Jurgen Habermas. She argues that these models of participatory democracy can co-exist and are necessarily spatial. The book then provides diverse perspectives on how the role of physical public space is articulated through three modes of participatory spatial practice. The first focuses on issues of participation in architectural practice through a set of projects exploring the 'open spaces' of a postwar housing estate in Euston. The second examines the role of space in the construction of democratic identity through a feminist architecture/art collective, producing space through writing, performance and events. The third explores participatory political democratic practice through social forums at global, European and city levels. Hoskyns concludes that participatory democracy requires a conception of public space as the empty place, allowing different models and practices of democracy to co-exist.

Bringing together ideas from the fields of sociology, economics, human geography, ethics, political and communications theory, this book deals with some key subjects in urban design: the multidimensional effects of the spatial form of cities, ways of appropriating urban space, and the different material factors involved in the emergence of social life. It puts forward an innovative conceptual framework to reconsider some fundamental features of city-making as a social process: the place of cities in encounters and communications, in the randomness of events and in the repetition of activities that characterise societies. In doing so, it provides fresh analytical tools and theoretical insights to help advance our understanding of the networks of causalities, contingencies and contexts involved in practices of city-making. In a systematic attempt to bring urban analysis and research from the social sciences together, the book is organised around three vital yet relatively neglected dimensions in the social and material shaping of cities: (i) Cities as systems of encounter: an approach to urban segregation as segregated networks; (ii) Cities as systems of communication: a view of shared spaces as a means to association and social experience; (iii) Cities as systems of material interaction: explorations on urban form as an effect of interactivity, and interactivity as an effect of form. Visit the author's website at: http://socialfabric.city/

Written as an advocacy of melancholy's value as part of landscape experience, this book situates the concept within landscape's aesthetic traditions, and reveals how it is a critical part of ethics and empathy. With a history that extends back to ancient times, melancholy has hovered at the edges of the appreciation of landscape, including the aesthetic exertions of the eighteenth-century. Implicated in the more formal categories of the Sublime and the Picturesque, melancholy captures the subtle condition of beautiful sadness. The book proposes a range of conditions which are conducive to melancholy, and presents examples from each, including: The Void, The Uncanny, Silence, Shadows and Darkness, Aura, Liminality, Fragments, Leavings, Submersion, Weathering and Patina.

Confabulation is a drawing together through storytelling. Fundamental to our perception, memory, and thought is the way we join fractured experiences to construct a narrative. Confabulations: Storytelling in Architecture weaves together poetic ideas, objects, and events and returns you to everyday experiences of life through juxtapositions with dreams, fantasies, and hypotheticals. It follows the intellectual and creative framework of architectural cosmopoesis developed and practiced by the distinguished thinker, architect, and professor Dr. Marco Frascari, who thought deeply about the role of storytelling in architecture. Bringing together a collection of 24 essays from a diverse and respected group of scholars, this book presents the convergence of architecture and storytelling across a broad temporal, geographic, and cultural range. Beginning with an introduction framing the topic, the book is organized along a continuous thread structured around four key areas: architecture of stories, stories of architecture, stories of theory and practice of stories. Beautifully illustrated throughout and including a 64-page full colour section, Confabulations is an insightful investigation into architectural narratives.