Michael Sorkin's iconic list is now in a handsome printed package, a perfect gift for any architect, student of architecture, or design-savvy urbanist. By turns poetic and humorous, practical and wise, this book is a joyful celebration of the craft of architecture. A posthumous book by critic, architect, urban theorist, and educator, Michael Sorkin (1948-2020), 250 Things An Architect Should Know is filled with details that architects love to obsess over, from the expected (golden ratio and the seismic code) to the unexpected (the heights of folly and the prismatic charms of Greek islands.)

A follow-up to the volume "Discovering the Principles of Mechanics 1600-1800. Essays by David Speiser" (Birkhauser 2008), this volume contains the essays of David Speiser on relationships between science, history of science, history of art and philosophy.

This book is about a side of Isaac Newton's character that has not been examined - Isaac Newton as architect as demonstrated by his reconstruction of Solomon's Temple. Although it is well known that Isaac Newton worked on the Temple, and this is mentioned in most of his biographies and in articles on the religious aspects of this work, however, there is no research on Newton's architectural work. This book not only recreates Newton's reconstruction of the Temple but it also considers how his work on the Temple interlinks with his other interests of science, chronology, prophecy and theology. In addition the book contains the first translation of Introduction to the Lexicon of the Prophets, Part two: About the appearance of the Jewish Temple commonly known by its call name Babson 0434. This work will appeal not only to scholars of science and architectural history but also to scholars of the seventeenth and eighteenth centuries' history of ideas.

The Interior Architecture Theory Reader presents a global compilation that collectively and specifically defines interior architecture. Diverse views and comparative resources for interior architecture students, educators, scholars, and practitioners are needed to develop a proper canon for this young discipline. As a theoretical survey of interior architecture, the book examines theory, history, and production to embrace a full range of interior identities in architecture, interior design, digital fabrication, and spatial installation. Authored by leading educators, theorists, and practitioners, fifty chapters refine and expand the discourse surrounding interior architecture.

Somaiyeh Falahat investigates the spatial and morphological logic of pre-modern Middle Eastern and North African cities, so-called "Islamic cities." She bases her argument on the fact that the city and consequently its form and structure, similar to other human products, have deep roots in the thought-structure of the people. Thus, to know such places properly, one has to refer to this life-world and use it as a structure to observe the city. This approach aims at opening new levels of understanding of the city by grasping indigenous concepts and structures; it puts forward claims for the possibility of a new method of analysis. The author studies the historic city of Isfahan as the case study and suggests that an indigenous term, Hezar-Too, can explain the complexity of the city, which has been interpreted as labyrinthine and maze-like accounting for the essence of the city and its form in an appropriate way. Looking at the city from this new point of view can help in observing it in its context and subsequently in discovering its real character.

What kind of city was the Fascist 'third Rome'? Imagined and real, rooted in the past and announcing a new, 'revolutionary' future, Fascist Rome was imagined both as the ideal city and as the sacred centre of a universal political religion. Kallis explores this through a journey across the sites, monuments, and buildings of the fascist capital.

Architectural Topographies is a critical dictionary for architects and landscape architects in which the graphic lexicon can be read from a beginning, the ground, to a conclusion, the specific case studies. Meant as a tool to help you recognise, analyse, choose, and invent solutions, the book's key words refer to the physical and material relationship between construction and ground; to where and how the link is built; to the criteria, methods, and tools used to know and transform the ground; and to the possible approaches to the place and their implications on the way the earth is touched. Fifty case studies by forty-six of the greatest architects of the previous hundred years are represented throughout in sectional drawings which place the buildings along the same ground plane to illustrate how the key words might be combined and to show each architect's position on their built work in relation to all the others. Includes projects by Alvar Aalto; Tadao Ando; Gunnar Asplund; Atelier Bow-Wow; Joao Batista Vilanova Artigas; Patrick Berger; Mario Botta; Marcel Breuer; Erik Bryggman; Goncalo Byrne; David Chipperfield; Le Corbusier; Sverre Fehn; Aurelio Galfetti, Flora Ruchat, and Ivo Trumpy; Dick Van Gameren; Herzog and De Meuron; Steven Holl; Arne Jacobsen; Kengo Kuma; Anne Lacaton and Jean Philippe Vassal; Adalberto Libera; Frank Lloyd Wright; Paulo Mendes da Rocha; Ludwig Mies van der Rohe; Enric Miralles and Carme Pinos; Glenn Murcutt; Juan Navarro Baldeweg; Sheila O'Donnell and John Tuomey; Jan Olav Jensen and Borre Skodvin; John Pawson; Giuseppe Perugini, Mario Fiorentino, and Nello Aprile; Renzo Piano; Georges-Henry Pingusson; Rudolph Schindler; Roland Simounet; Alvaro Siza; Luigi Snozzi; Alejandro de la Sota; Eduardo Souto de Moura; Alison Smithson and Peter Smithson; Fernando Tavora; Jorn Utzon; Livio Vacchini; Francesco Venezia, Roberto Collova, and Marcella Aprile; Amancho Williams; and Peter Zumthor.

Written by a team of renowned contributors and carefully edited to address the themes laid out by the editors in their introduction, the book includes theoretical issues concerning the questions of aesthetics and politics and addresses city and urban strategies within the general critique of the "post-political". By focusing on specific case studies from Warsaw, Barcelona, Dubai, Tokyo and many more the book consolidates the contributions of a diverse group of academics, architects and critics from Europe, the Middle East and America. This collection fills the gap in the existing literature on the relation between politics and aesthetics, and its implications for the theoretical discourse of architecture today. In summary, this book provides a response to the predominant de-politicization in academic discourse and is an attempt to re-claim the abandoned critical project in architecture.

The Winter 2012 (vol. 14 no. 3) issue of the Nexus Network Journal features seven original papers dedicated to the theme "Digital Fabrication". Digital fabrication is changing architecture in fundamental ways in every phase, from concept to artifact. Projects growing out of research in digital fabrication are dependent on software that is entirely surface-oriented in its underlying mathematics. Decisions made during design, prototyping, fabrication and assembly rely on codes, scripts, parameters, operating systems and software, creating the need for teams with multidisciplinary expertise and different skills, from IT to architecture, design, material engineering, and mathematics, among others The papers grew out of a Lisbon symposium hosted by the ISCTE-Instituto Universitario de Lisboa entitled "Digital Fabrication - A State of the Art". The issue is completed with four other research papers which address different mathematical instruments applied to architecture, including geometric tracing systems, proportional systems, descriptive geometry and correspondence analysis. The issue concludes with a book review.

Due to globalization, cultural spaces are now developing with no tangible connection to geographical place. The territorial logic traditionally used to underpin architecture and envision our built environment is being radically altered, forcing the adoption of a new method of conceptualizing space/geography and what constitutes architectural practice. Construction techniques, design sensibilities, and cultural identities are being transformed as technology transports us to places that were previously unreachable. The resultant "globalized" architect must become more than just an artful visionary, but also a master of the art of the political nudge willing to act within multiple mediums and at the simultaneous scales of a chaotic new world disorder. Though fearless they must also be responsible, inherently understanding the necessity to align bold visions with the mundane details of the everyday in ways that are culturally flexible and accepting of change. The potential for what must be considered the legitimate practice of the architect must move from a purely material venue to one more directly engaged in the chaos of the larger economic, political, and social spheres of a globalizing world. The issues and possible interactions with globalization contained in this text exemplify ways that architecture is transforming into a more flexible and fluid interdisciplinary version of its traditional self in order to rise to challenges of this new international terrain. A theme runs throughout in the form of a call: that architects must conceptually re-construct their frames of reference to better align with the demands of a rapidly globalizing world.

As the subject of earnest discussion, the meaning of space reaches far beyond the horizon of a single discipline. Lukas Feiriss has assembled a collection of international contributions for Space Matters, a publication of the space & design strategies study program of the Univeristy of Art and Design, Linz, Austria to create an inspiring expansion of the contemporary discourse on space. The publication addresses cultural resarchers and readers in creative professions - architects, artists, curators, scientists and students in all the related fields as well as those members of a broader audience that are interested in the incorporation of space and the pratices with which it is designed in cultural, social and humanities-oriented contexts.

This book provides a definitive guide for the future direction of the practice and profession of architecture. In five parts, Cliff Moser provides you with all the tools and know-how to implement changes that will serve you and your practice in the short, medium and long term. Written at a crucial time for the industry, this is essential reading for every architect.

The expedited globalised process of exchange and new forms of cultural production have transformed old established notions of identity, calling into question their conceptual foundations. This book explores the spatial and representational dimension of this phenomenon, by addressing how the reshaping of the key themes of place, architecture and memory are altering the nature, as well as, our understanding of identity. Cutting across boundaries, the book drives discussion of identity beyond the well-worn concern for its loss within a globalised context, and importantly provides links between identity, place, memory and representation in architecture. Examining a range of case studies from Australia, Germany, India, Japan, Mexico, Poland, Puerto Rico, Turkey and Singapore, as well as with contributions cutting across geographical and temporal boundaries, this volume addresses such issues as architecture technology, place and memory - critical issues in the monitoring and mapping of identity shift within a rapidly globalising context. With contributions from renowned authors in the field including Nicholas Temple, Patsy Hely, Robert Brown, Liane Lefaivre, John Hendrix, Ana Souto, Fiona MacLaren, Stephen Walker, Nezar AlSayyad, Andrzej Piotrowski, Catherine Ettinger, Luz Marie Rodriguez, and Raymond Quek this book presents fresh insights and diverse perspectives on the evolving question of identity and globalisation.

na broad sense Design Science is the grammar of a language of images Irather than of words. Modern communication techniques enable us to transmit and reconstitute images without needing to know a specific verbal sequence language such as the Morse code or Hungarian. International traffic signs use international image symbols which are not specific to any particular verbal language. An image language differs from a verbal one in that the latter uses a linear string of symbols, whereas the former is multi dimensional. Architectural renderings commonly show projections onto three mutual ly perpendicular planes, or consist of cross sections at different altitudes capa ble of being stacked and representing different floor plans. Such renderings make it difficult to imagine buildings comprising ramps and other features which disguise the separation between floors, and consequently limit the cre ative process of the architect. Analogously, we tend to analyze natural struc tures as if nature had used similar stacked renderings, rather than, for instance, a system of packed spheres, with the result that we fail to perceive the system of organization determining the form of such structures. Perception is a complex process. Our senses record; they are analogous to audio or video devices. We cannot, however, claim that such devices perceive.

Ever since anthropology has existed as a discipline, anthropologists have thought about architectural forms. This book provides the first overview of how anthropologists have studied architecture and the extraordinarily rich thought and data this has produced.With a focus on domestic space - that intimate context in which anthropologists traditionally work - the book explains how anthropologists think about public and private boundaries, gender, sex and the body, the materiality of architectural forms and materials, building technologies and architectural representations. Each chapter uses a broad range of case studies from around the world to examine from within anthropology what architecture 'does' - how it makes people and shapes, sustains and unravels social relations.An Anthropology of Architecture is key reading for students of anthropology, material culture, geography, sociology, architectural theory, design and city planning.

Galileo Galilei (1564-1642), his life and his work have been and continue to be the subject of an enormous number of scholarly works. One of the con- quences of this is the proliferation of identities bestowed on this gure of the Italian Renaissance: Galileo the great theoretician, Galileo the keen astronomer, Galileo the genius, Galileo the physicist, Galileo the mathematician, Galileo the solitary thinker, Galileo the founder of modern science, Galileo the heretic, Galileo the courtier, Galileo the early modern Archimedes, Galileo the Aristotelian, Galileo the founder of the Italian scienti c language, Galileo the cosmologist, Galileo the Platonist, Galileo the artist and Galileo the democratic scientist. These may be only a few of the identities that historians of science have associated with Galileo. And now: Galileo the engineer! That Galileo had so many faces, or even identities, seems hardly plausible. But by focusing on his activities as an engineer, historians are able to reassemble Galileo in a single persona, at least as far as his scienti c work is concerned. The impression that Galileo was an ingenious and isolated theoretician derives from his scienti c work being regarded outside the context in which it originated.

Architecture is distinguished from other art forms by its sense of function, its localized quality, its technique, its public and nonpersonal character, and its continuity with the decorative arts. In this important book, Roger Scruton calls for a return to first principles in contemporary architectural theory, contending that the aesthetic of architecture is, in its very essence, an aesthetic of everyday life. Aesthetic understanding is inseparable from a sense of detail and style, from which the appropriate, the expressive, the beautiful, and the proportionate take their meaning. Scruton provides incisive critiques of the romantic, functionalist, and rationalist theories of design, and of the Freudian, Marxist, and semiological approaches to aesthetic value.

In a new introduction, Scruton discusses how his ideas have developed since the book's original publication thirty years ago, and he assesses the continuing relevance of his argument for the twenty-first century.

THE NUMBER ONE INTERNATIONAL BESTSELLER From one of our greatest voices in modern philosophy, author of The Course of Love, The Consolations of Philosophy and The School of Life, The Architecture of Happiness explores the fascinating hidden links between the buildings we live in and our long-term wellbeing. 'Engaging and intelligent . . . Full of splendid ideas, happily and beautifully expressed' Independent What makes a house truly beautiful? Why are many new houses so ugly? Why do we argue so bitterly about sofas and pictures - and can differences of taste ever be satisfactorily resolved? To answer these questions and many more, de Botton looks at buildings across the world, from medieval wooden huts to modern skyscrapers; he examines sofas and cathedrals, tea sets and office complexes, and teases out a host of often surprising philosophical insights. The Architecture of Happiness will take you on a beguiling tour through the history and psychology of architecture and interior design, and will change the way you look at your home. 'Alain de Botton takes big, complex subjects and writes about them with thoughtful and deceptive innocence' Observer 'Clever, provocative and fresh as a daisy' Literary Review

From the mid-1960s onwards Michel Foucault has had a significant impact on diverse aspects of culture, knowledge and arts including architecture and its critical discourse. The implications for architecture have been wide-ranging. His archaeological and genealogical approaches to knowledge have transformed architectural history and theory, while his attitude to arts and aesthetics led to a renewed focus on the avant-garde. Prepared by an architect, this book offers an excellent entry point into the remarkable work of Michel Foucault, and provides a focused introduction suitable for architects, urban designers, and students of architecture. Foucault's crucial juxtaposition of space, knowledge and power has unlocked novel spatial possibilities for thinking about design in architecture and urbanism. While the philosopher's ultimate attention on the issues of body and sexuality has defined our understanding of the possibilities and limits of human condition and its relation to architecture. The book concentrates on a number of historical and theoretical issues often addressed by Foucault that have been grouped under the themes of archaeology, enclosure, bodies, spatiality and aesthetics in order to examine and demonstrate their relevancy for architectural knowledge, its history and its practice.

Continuing the themes that have been addressed in The Humanities in Architectural Design and The Cultural Role of Architecture, this book illustrates the important role that a contradiction between form and function plays in compositional strategies in architecture. The contradiction between form and function is seen as a device for poetic expression, for the expression of ideas, in architecture. Here the role of the terms "form" and "function" are analyzed throughout the history of architecture and architectural theory, from Vitruvius to the present, with particular emphasis on twentieth-century functionalism. Historical examples are given from Ancient, Classical, Islamic, Christian, Byzantine, Gothic, Renaissance, Mannerist, and Neoclassical architecture, and from movements in the twentieth century to the present. In addition philosophical issues such as lineamenti, Vorstellung, differance, dream construction, deep structure and surface structure, topology theory, self-generation, and immanence are explored in relation to the compositions and writings of architects throughout history. This book contributes to the project of re-establishing architecture as a humanistic discipline, to re-establish an emphasis on the expression of ideas, and on the ethical role of architecture to engage the intellect of the observer and to represent human identity.

Rethinking Aesthetics is the first book to bring together prominent voices in the fields of architecture, philosophy, aesthetics, and cognitive sciences to radically rethink the relationship between body and design. These essays argue that aesthetic experiences can be nurtured at any moment in everyday life, thanks to recent discoveries by researchers in neuroscience, phenomenology, somatics, and analytic philosophy of the mind, who have made the correlations between aesthetic cognition, the human body, and everyday life much clearer. The essays, by Yuriko Saito, Juhani Pallasmaa, and Richard Shusterman, among others, range from an integrated mind-body approach to chair design, to Zen Buddhist notions of mindfulness, to theoretical accounts of existential relationships with buildings, to present a full spectrum of possible inquiries. By placing the body in the center of design, Rethinking Aesthetics opens new directions for rethinking the limits of both essentialism and skepticism.

The story of how the concept of a pantheon, a building honouring great individuals, spread across Revolutionary Europe and interacted with socio-political and cultural changes. Analysing the canon and iconography of each pantheon, Bouwers shows how the commemoration of war and celebration of nationhood gave way to the protection of elite interests.

Providing a concise and accessible introduction to the work of the celebrated twentieth century German philosopher, Hans-Georg Gadamer, this book focuses on the aspects of Gadamer's philosophy that have been the most influential among architects, educators in architecture, and architectural theorists. Gadamer's philosophy of art gives a special place to the activity of "play" as it occurs in artistic creation. His reflections on meaning and symbolism in art draw upon his teacher, Martin Heidegger, while moving Heidegger's thought in new directions. His theory of interpretation, or "philosophical hermeneutics," offers profound ways to understand the influence of the past upon the present and to appropriate cultural history in ever new forms. For architects, architectural theorists, architectural historians, and students in these fields, Gadamer's thought opens a world of possibilities for understanding how building today can be rich with human meaning, relating to architecture's history in ways that do not merely repeat nor repudiate that history. In addition, Gadamer's sensitivity to the importance of practical thinking - to the way that theory arises out of practice - gives his thought a remarkable usefulness in the everyday work of professional life.