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.

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.

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.

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.

A definitive intellectual history of landscape urbanism It has become conventional to think of urbanism and landscape as opposing one another-or to think of landscape as merely providing temporary relief from urban life as shaped by buildings and infrastructure. But, driven in part by environmental concerns, landscape has recently emerged as a model and medium for the city, with some theorists arguing that landscape architects are the urbanists of our age. In Landscape as Urbanism, one of the field's pioneers presents a powerful case for rethinking the city through landscape. Charles Waldheim traces the roots of landscape as a form of urbanism from its origins in the Renaissance through the twentieth century. Growing out of progressive architectural culture and populist environmentalism, the concept was further informed by the nineteenth-century invention of landscape architecture as a "new art" charged with reconciling the design of the industrial city with its ecological and social conditions. In the late twentieth and early twenty-first centuries, as urban planning shifted from design to social science, and as urban design committed to neotraditional models of town planning, landscape urbanism emerged to fill a void at the heart of the contemporary urban project. Generously illustrated, Landscape as Urbanism examines works from around the world by designers ranging from Ludwig Hilberseimer, Andrea Branzi, and Frank Lloyd Wright to James Corner, Adriaan Geuze, and Michael Van Valkenburgh. The result is the definitive account of an emerging field that is likely to influence the design of cities for decades to come.

Gathering twenty essays written over twenty years, Figments of the Architectural Imagination explores the frontiers of speculative architectural design, theory, and pedagogy to offer clear-eyed and incisive treatments of some of the most important projects, practices, and polemics at work making contemporary architecture contemporary. These sharp and insightful texts, whether addressing the impact of digital technology, the design of an effective hotel, the emergence of the Los Angeles vanguard, or the proper execution of a thesis project, combine frontline reportage, archival scholarship, trenchant prose, and impressive critical acumen to cut through the cacophony of recent architectural discourse with uncommon clarity, intelligence, rigor, and wit. Taken together, these essays provide essential orientation for practitioners, academics, students, and aficionados hoping to understand how contemporary architecture came to be where it is and to speculate on where it might go next.

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.

This series investigates the historical, theoretical and practical aspects of interiors. The volumes in the Interior Architecture series can be used as handbooks for the practitioner and as a critical introduction to the history of material culture and architecture. Hotels occupy a particular place in popular imagination. As a place of exclusive sociability and bohemian misery, a site of crime and murder and as a hiding place for illicit liaison, the hotel has embodied the dynamism of the metropolis since the eighteenth century. This book explores the architectural significance of hotels throughout history and how their material construction has reflected and facilitated the social and cultural practices for which they are renowned. Contemporary developments in the planning and design of hotels are addressed through a series of interviews and case studies. Illustrated throughout, this book is an innovative and important contribution to architectural and interior design theory literature.

Few aspects of daily existence are untouched by technology. The learning and teaching of music is no exception and arguably has been impacted as much or more than other areas of life. Digital technologies have come to affect music learning and teaching in profound ways, influencing everything from how we create, listen, share, consume, interact, and conceptualize musical practices and the musical experience. For a discipline as entrenched in tradition as music education, this has brought forth myriad views on what does and should constitute music learning and teaching. To tease out and elucidate some of the salient problems, interests, and issues, The Oxford Handbook of Technology and Music Education critically situates technology in relation to music education from a variety of perspectives: historical, philosophical, socio-cultural, pedagogical, musical, economic, policy, and so on, organized around four broad themes: Emergence and Evolution; Locations and Contexts: Social and Cultural Issues; Experiencing, Expressing, Learning and Teaching; and Competence, Credentialing, and Professional Development. Chapters from a highly diverse group of junior and senior scholars provide analyses of technology and music education through intersections of gender, theoretical perspective, geographical distribution, and relationship to the field. The Oxford Handbook of Technology and Music Education's dedication to diversity and forward-facing discussion provides contrasting perspectives and conversational voices rather than reinforce traditional narratives and prevailing discourses.

Letter From The Editor.- Letter From The Editor.- Architecture, Mathematics and Perspective.- Giotto and Renaissance Perspective.- Perspective, a Visionary Process: The Main Generative Road for Crossing Dimensions.- Perspective in a box.- Juan Bautista Villalpando and the Nature and Science of Architectural Drawing.- Perspective versus Stereotomy: From Quattrocento Polyhedral Rings to Sixteenth-Century Spanish Torus Vaults.- The Sunlight Effect of the Kukulcan Pyramid or The History of a Line.- Some Adaptations of Relativity in the 1920s and the Birth of Abstract Architecture.- Book Reviews.- The Mirror, the Window, and the Telescope: How Renaissance Linear Perspective Changed Our Vision of the Universe.- The Geometry of an Art. The History of Perspective from Alberti to Monge.- Forma y Representacion. Un Analisis Geometrico.

We grasp and transform the world through interplays of quantification and qualification. The cross pollination of geometric and literary figures is deeply embedded in our cognitive habits, instruments of inquiry and the constructed environment. Through time, thought has reflected on the visible processes and products of material craft to explain and train the invisible workings of the mind. Recursively, material craft embodies a tradition of splitting ideas into categorical parts and compositional units for reassembly. Although the mathematical and verbal arts are often placed in contrast, human inventions manifest a weave of alphanumerics. Mythic parables, geometric proofs, memory arts, poems, algorithms, buildings and cities emerge from the intercourse of measure and explication. This special issue of the "Nexus Network Journal" considers architectonic examples of past, present and potential geometries of rhetoric.

Letter from the Editor.- Letter from the Editor.- Recalling Eero Saarinen 1910-2010.- How the Gateway Arch Got its Shape.- Saarinen's Shell Game: Tensions, Structures, and Sounds at MIT.- The Next Largest Thing: The Spatial Dimensions of Liturgy in Eliel and Eero Saarinen's Christ Church Lutheran, Minneapolis.- Morphocontinuity in the work of Eero Saarinen.- Eero Saarinen, Eduardo Catalano and the Influence of Matthew Nowicki: A Challenge to Form and Function.- Eero Saarinen's North Christian Church in Columbus, Indiana.- Other Research.- On the Modular Design of Mughal Riverfront Funerary Gardens.- Discontinuous Double-shell Domes through Islamic eras in the Middle East and Central Asia: History, Morphology, Typologies, Geometry, and Construction.- At the Other End of the Sun's Path: A New Interpretation of Machu Picchu.- The Body, the Temple and the Newtonian Man Conundrum.- Book Review.- The Symbol at Your Door: Number and Geometry in Religious Architecture of the Greek and Latin Middle Ages.- Conference Report.- Architecture and Mathematics. A seminar to celebrate Professor emeritus Staale Sinding-Larsen's 80th birthday.- Erratum.- Erratum to: The Sunlight Effect of the Kukulcan Pyramid or The History of a Line.

This book deals with the economic aspects of changing attitudes in arts and sciences. The effects of the public good character of culture, along with the very long production period and lifetime for its products, are emphasized, since both contribute to the failure of normal market solutions. Embodiment of ideas, and the consequences of modern reproduction technology for protection of property rights are closely examined.

In this volume scientists from different disciplines present their experience and their scientific work in progress. These concern the properties of a series of stones that have been used for the erection of some of the most important stone monuments of international cultural heritage and are also used today for substitution of missing parts or completion of damaged ones. It deals with the subject globally and contains unpublished research results.

The Spring 2011 (vol. 13 no. 1) issue of the Nexus Network Journal features eight papers that resulted from the 2010 Nexus conference section on Shape and Shape Grammars. Guest editor Lionel March provides an introduction for the entire group. The papers were selected to spread themes as widely and representatively as possible. George Stiny provides a keynote paper with theoretical insights, while other papers range from pedagogical applications in the architectural studio to shape language and style in classical Chinese architecture; from shape grammars and descriptions used to 'decode Alberti', to their use as an aid to the rehabilitation of housing stock in Lisbon; from the creation of a design system involving a parametric shape grammar with descriptions to generate urban block layouts within a defined spatial region, to a novel example of a kinetic shape grammar simulating human body movements. Among the authors are George Stiny, Mine Ozkar, Andrew Li, Jose Duarte, Rudi Stouffs, Mario Kruger, Filipe Coutinho, Jose Beirao Alexandra Paio, Benamy Turkienicz, Sara Eloy, Maria da Piedade Ferriera, Duarte Cabral de Mello, and others."

First published in 1966, and since translated into 16 languages, this remarkable book has become an essential document in architectural literature. As Venturi's ""gentle manifesto for a nonstraightforward architecture,"" Complexity and Contradiction in Architecture expresses in the most compelling and original terms the postmodern rebellion against the purism of modernism. Three hundred and fifty architectural photographs serve as historical comparisons and illuminate the author's ideas on creating and experiencing architecture. Complexity and Contradiction in Architecture was the winner of the Classic Book Award at the AIA's Seventh Annual International Architecture Book Awards.

In "Frontier Fictions," Firoozeh Kashani-Sabet looks at the efforts of Iranians to defend, if not expand, their borders in the nineteenth and early twentieth centuries, and explores how their conceptions of national geography influenced cultural and political change. The "frontier fictions," or the ways in which the Iranians viewed their often fluctuating borders and the conflicts surrounding them, played a dominant role in defining the nation. On these borderlands, new ideas of citizenship and nationality were unleashed, refining older ideas of ethnicity.

Kashani-Sabet maintains that land-based conceptions of countries existed before the advent of the modern nation-state. Her focus on geography enables her to explore and document fully a wide range of aspects of modern citizenship in Iran, including love of homeland, the hegemony of the Persian language, and widespread interest in archaeology, travel, and map-making. While many historians have focused on the concept of the "imagined community" in their explanations of the rise of nationalism, Kashani-Sabet is able to complement this perspective with a very tangible explanation of what connects people to a specific place. Her approach is intended to enrich our understanding not only of Iranian nationalism, but also of nationalism everywhere.

Has architectural theory become a historical phenomenon to be anthologized and studied as another passing phase in the history of the discipline? Do the current commonplace watchwords of "practice" and "research" mark the end of theory's place in architectural discourse? This edited volume posits the contrary-that theory remains urgent and even unavoidable, so ingrained in architectural practice and pedagogy that it remains a vital if sometimes latent influence. Architectural theory is not confined to its supposed heyday in the decades leading up to the year 2000; it has persisted and expanded as the stakes of theoretical discussions have transformed. 2000+: The Urgencies of Architectural Theory collects new essays from a range of the most compelling architectural historians and theorists of the moment, including Lucia Allais, Beatriz Colomina, Mark Cousins, Arindam Dutta, John Harwood, Catherine Ingraham, Mark Jarzombek, Mari Lending, Spyros Papapetros, Felicity Scott, Pelin Tan, Bernard Tschumi, Eyal Weizman, Mark Wigley, and Mabel Wilson. Brought together for a conference marking the end of Wigley's tenure as dean of Columbia University's Graduate School of Architecture, Planning and Preservation, these thinkers chart new directions and points of critical importance for theory in architecture.

Light in Architecture explores the role of light in buildings throughout history and the many disparate ways in which architects have approached the phenomenon around the world. Translated and updated from the best-selling Spanish original, this book highlights the significance of light on human perception by examining the ways in which it can be harnessed and manipulated to achieve particular objectives or experiences - and tackles the fallacy that 'more' light necessarily means 'better' light. With increasing relevance to modern urbanism, it also considers what happens when we build in or around pre-existing architecture - how light can be improved, restored or even destroyed in the process. Extensively researched and beautifully illustrated, Light in Architecture offers a fascinating study of how a greater understanding of this intangible, freely available material can improve our built environment and quality of life.

Looking afresh at the implications of Jacques Derrida 's thinking for architecture, this book simplifies his ideas in a clear, concise way. Derrida 's treatment of key philosophical texts has been labelled as "deconstruction," a term that resonates with architecture. Although his main focus is language, his thinking has been applied by architectural theorists widely.

As well as a review of Derrida 's interaction with architecture, this book is also a careful consideration of the implications of his thinking, particularly on the way architecture is practiced.

A provocative case for historical ambiguity in architecture by one of the field's leading theorists Conceptions of modernity in architecture are often expressed in the idea of the zeitgeist, or "spirit of the age," an attitude toward architectural form that is embedded in a belief in progressive time. Lateness explores how architecture can work against these linear currents in startling and compelling ways. In this incisive book, internationally renowned architect Peter Eisenman, with Elisa Iturbe, proposes a different perspective on form and time in architecture, one that circumvents the temporal constraints on style that require it to be "of the times"-lateness. He focuses on three twentieth-century architects who exhibited the qualities of lateness in their designs: Adolf Loos, Aldo Rossi, and John Hejduk. Drawing on the critical theory of Theodor Adorno and his study of Beethoven's final works, Eisenman shows how the architecture of these canonical figures was temporally out of sync with conventions and expectations, and how lateness can serve as a form of release from the restraints of the moment. Bringing together architecture, music, and philosophy, and drawing on illuminating examples from the Renaissance and Baroque periods, Lateness demonstrates how today's architecture can use the concept of lateness to break free of stylistic limitations, expand architecture's critical capacity, and provide a new mode of analysis.

The title of this issue of the Nexus Network Journal, "Architecture, Mathematics and Structure," is deliberately ambiguous. At first glance, it might seem to indicate the relationship between what buildings look like and how they stand up. This is indeed one aspect of what we are concerned with here. But on a deeper level, the fundamental concept of structure is what connects architecture to mathematics. Both architecture and mathematics are highly structured formal systems expressed through a symbolic language. For architecture, the generating structure might be geometrical, musical, modular, or fractal. Once we understand the nature of the structure underlying the design, we are able to "read" the meaning inherent in the architectural forms. The papers in this issue all explore themes of structure in different ways.

Where We Learn investigates how learning spaces are evolving to be made more engaging, flexible and all-around better suited to today's challenges and opportunities. When educational spaces are designed not only to suit, but to harness the power of new learning models, they have a catalytic potential to improve the way knowledge is shared and retained. Once static, spaces where learning takes place have expanded far beyond the walls of the classroom to spill into more flexible and interactive settings. Where We Learn will offer some of the most novel insights into the design and performance of new environments that are better adapted to contemporary pedagogical practices. This book will shed light on over 50 projects worldwide, ranging from kindergartens, schools and universities to libraries, study cafes and museums. Geared towards readers interested in understanding the broader impact of design on the human experience, Where We Learn will highlight imaginative projects while remaining grounded in practical contexts and real-world settings.

In celebration of the 2009 International Year of Astronomy, this issue of the Nexus Network Journal is devoted to relationships between astronomy, mathematics and architecture. Ancient cultures looked to the heavens in order to identify timeless principles for their own creations. Knowledge gained in astronomy was transformed into culture through architecture and design. Papers in this issue look at how astronomy influenced architecture and urban design.