Nine previously unpublished essays form an interdisciplinary assessment of urban memory in the modern city, analysing this burgeoning area of interest from the perspectives of sociology, architectural and art history, psychoanalysis, culture and critical theory. Featuring a wealth of illustrations, images, maps and specially commissioned artwork, this work applies a critical and creative approach to existing theories of urban memory, and examines how these ideas are actualised in the forms of the built environment in the modernist and post-industrial city.

A particular area of focus is post-industrial Manchester, but the book also includes studies of current-day Singapore, New York after 9/11, modern museums in industrial gallery spaces, the writings of Paul Auster and W.G. Sebald, memorials built in concrete, and contemporary art.

The colonial architecture of the nineteenth century has much to tell us of the history of colonialism and cultural exchange. Yet, these buildings can be read in many ways. Do they stand as witnesses to the rapacity and self-delusion of empire? Are they monuments to a world of lost glory and forgotten convictions? Do they reveal battles won by indigenous cultures and styles? Or do they simply represent an architectural style made absurdly incongruous in relocation?
Empire Building is a study of how and why Western architecture was exported to the Middle East and how Islamic and Byzantine architectural ideas and styles impacted on the West.
The book explores how far racial theory and political and religious agendas guided British architects (and how such ideas were resisted when applied), and how Eastern ideas came to influence the West, through writers such as Ruskin and buildings such as the Crystal Palace.
Beautifully written and lavishly illustrated, Empire Building takes the reader on an extraordinary postcolonial journey, backwards and forwards, into the heart and to the edge of empire.

James Stirling (1924-1992) was, arguably, the most influential and controversial post-war British architect. Stirling s reputation is based primarily on such seminal buildings as the Leicester University Engineering Building (1959-63, with James Gowan), at one end of his career, and the Neue Staatsgalerie Stuttgart (1977-83, with Michael Wilford) at the other. Although he denied both labels, his work is seen as central to New Brutalism and Post-Modernism and his buildings attracted commentary and theory from the leading architectural thinkers of the day (including Frampton, Tafuri, Eisenman and Banham). Despite his significance, however, there has been very little recent research or creative re-interpretation of his work.

This fascinating insight into Stirling s work presents previously unavailable writings by him as well as new research on his early career, including:

• 'The Black Notebook' the journal he kept in the mid-1950s
• the recorded talk he gave to the 'Team 10' group in 1962, as well as the discussion that followed that talk
• three sets of notes for lectures he gave
• an interview with Stirling and Gowan
• essays by the editor placing the texts in the context of Stirling s early work and discussing Stirling s relation to Le Corbusier.

Profusely illustrated, with many photographs taken by Stirling himself, this book gives fresh understanding of Stirling s early career and the reasons why avant-garde architecture in post-war Britain became so widely influential outside the country.

James Stirling (1924-1992) was, arguably, the most influential and controversial post-war British architect. Stirling s reputation is based primarily on such seminal buildings as the Leicester University Engineering Building (1959-63, with James Gowan), at one end of his career, and the Neue Staatsgalerie Stuttgart (1977-83, with Michael Wilford) at the other. Although he denied both labels, his work is seen as central to New Brutalism and Post-Modernism and his buildings attracted commentary and theory from the leading architectural thinkers of the day (including Frampton, Tafuri, Eisenman and Banham). Despite his significance, however, there has been very little recent research or creative re-interpretation of his work.

This fascinating insight into Stirling s work presents previously unavailable writings by him as well as new research on his early career, including:

• 'The Black Notebook' the journal he kept in the mid-1950s
• the recorded talk he gave to the 'Team 10' group in 1962, as well as the discussion that followed that talk
• three sets of notes for lectures he gave
• an interview with Stirling and Gowan
• essays by the editor placing the texts in the context of Stirling s early work and discussing Stirling s relation to Le Corbusier.

Profusely illustrated, with many photographs taken by Stirling himself, this book gives fresh understanding of Stirling s early career and the reasons why avant-garde architecture in post-war Britain became so widely influential outside the country.

This title was first published in 2003: Modernist architecture claimed to be the 'international style' but the relationship between modernism and the new dispositions of nations and nationalities which have succeeded the old European empires remains obscure. In this, the first book to examine the interactions between modern architecture, imperialism and post-imperialism, Mark Crinson looks at the architecture of the last years of the British Empire, and during its prolonged dissolution and aftermath. Taking a number of case studies from Britain, Ghana, Hong Kong, Iran, India and Malaysia, he investigates the ambitions of the people who commissioned the buildings, the training and role of architects, and the interaction of the architecture and its changing social and cultural contexts. This book raises questions about the nature of modernism and its roles that look far beyond empire and towards the post-imperial.

Nine previously unpublished essays form an interdisciplinary assessment of urban memory in the modern city, analysing this burgeoning area of interest from the perspectives of sociology, architectural and art history, psychoanalysis, culture and critical theory. Featuring a wealth of illustrations, images, maps and specially commissioned artwork, this work applies a critical and creative approach to existing theories of urban memory, and examines how these ideas are actualised in the forms of the built environment in the modernist and post-industrial city.

A particular area of focus is post-industrial Manchester, but the book also includes studies of current-day Singapore, New York after 9/11, modern museums in industrial gallery spaces, the writings of Paul Auster and W.G. Sebald, memorials built in concrete, and contemporary art.

A bold reassessment of the major architectural monuments and urban forms of the world's first industrial city: Manchester From the mid-eighteenth century to the nineteen-twenties, from the birth of the Industrial Revolution to the height of Manchester's global significance and the beginning of its decline, Shock City challenges the idea that Paris was the "capital of the nineteenth century." Mark Crinson reorients this issue around the development of industrial production, particularly cotton and its manufacture by means of steam power, offering a fascinating and accessibly written account of how new relations in the industrial economy were manifested through the spaces and representations of the first industrial city. Focusing on Manchester's mills and warehouses, its main trading institution (the Royal Exchange), its magnificent Gothic Revival Town Hall, and its late Gothic Revival Rylands Library, this book explores these iconic buildings alongside paintings, prints, maps, and photographs of the city throughout the period. Crinson interweaves analysis of buildings and images, urban spaces and new institutions, technology and industrial pollution to show how these were all the products of Manchester's newly emergent industrial middle classes, who remade the city in their image. Distributed for the Paul Mellon Centre for Studies in British Art

The colonial architecture of the nineteenth century has much to tell us of the history of colonialism and cultural exchange. Yet, these buildings can be read in many ways. Do they stand as witnesses to the rapacity and self-delusion of empire? Are they monuments to a world of lost glory and forgotten convictions? Do they reveal battles won by indigenous cultures and styles? Or do they simply represent an architectural style made absurdly incongruous in relocation?
Empire Building is a study of how and why Western architecture was exported to the Middle East and how Islamic and Byzantine architectural ideas and styles impacted on the West.
The book explores how far racial theory and political and religious agendas guided British architects (and how such ideas were resisted when applied), and how Eastern ideas came to influence the West, through writers such as Ruskin and buildings such as the Crystal Palace.
Beautifully written and lavishly illustrated, Empire Building takes the reader on an extraordinary postcolonial journey, backwards and forwards, into the heart and to the edge of empire.

This title was first published in 2003: Modernist architecture claimed to be the 'international style' but the relationship between modernism and the new dispositions of nations and nationalities which have succeeded the old European empires remains obscure. In this, the first book to examine the interactions between modern architecture, imperialism and post-imperialism, Mark Crinson looks at the architecture of the last years of the British Empire, and during its prolonged dissolution and aftermath. Taking a number of case studies from Britain, Ghana, Hong Kong, Iran, India and Malaysia, he investigates the ambitions of the people who commissioned the buildings, the training and role of architects, and the interaction of the architecture and its changing social and cultural contexts. This book raises questions about the nature of modernism and its roles that look far beyond empire and towards the post-imperial.

Building/Object addresses the space in between the conventional objects of design and the conventional objects of architecture, probing and reassessing the differences between the disciplines of design history and architectural history Each of the 13 chapters in this book examine things which are neither object-like nor building-like, but somewhere in between – air conditioning; bookshelves; partition walls; table-monuments; TVs; convenience stores; cars – exposing particular political configurations and resonances that otherwise might be occluded. In doing so, they reveal that the definitions we make of objects in opposition to buildings, and of architecture in opposition to design, are not as fundamental as they seem. This book brings new aspects of the creative and experiential into our understanding of the human environment.

Building/Object addresses the space in between the conventional objects of design and the conventional objects of architecture, probing and reassessing the differences between the disciplines of design history and architectural history Each of the 13 chapters in this book examine things which are neither object-like nor building-like, but somewhere in between – air conditioning; bookshelves; partition walls; table-monuments; TVs; convenience stores; cars – exposing particular political configurations and resonances that otherwise might be occluded. In doing so, they reveal that the definitions we make of objects in opposition to buildings, and of architecture in opposition to design, are not as fundamental as they seem. This book brings new aspects of the creative and experiential into our understanding of the human environment.

What is the place of architecture in the history of art? Why has it been at times central to the discipline, and at other times seemingly so marginal? What is its place now? Many disciplines have a stake in the history of architecture - sociology, anthropology, human geography, to name a few. This book deals with perhaps the most influential tradition of all - art history - examining how the relation between the disciplines of art history and architectural history has waxed and waned over the last one hundred and fifty years. In this highly original study, Mark Crinson and Richard J. Williams point to a decline in the importance attributed to the role of architecture in art history over the last century - which has happened without crisis or self-reflection. The book explores the problem in relation to key art historical approaches, from formalism, to feminism, to the social history of art, and in key institutions from the Museum of Modern Art, to the journal October. Among the key thinkers explored are Banham, Baxandall, Giedion, Panofsky, Pevsner, Pollock, Riegl, Rowe, Steinberg, Wittkower and Woelfflin. The book will provoke debate on the historiography and present state of the discipline of art history, and it makes a powerful case for the reconsideration of architecture.

James Stirling (1924-1992) is acclaimed as the most influential and controversial modern British architect. His partnership with James Gowan (b. 1923) between 1956 and 1963 put postwar British architecture on the international map, and their Leicester University Engineering Building became an iconic monument for a new kind of modernism. Mark Crinson's book is the most thoroughly researched study of Stirling and Gowan's partnership to date. Based on extensive interviews and archival research, Crinson argues that their work was the product of two equally creative partners whose different concerns produced a dynamic aesthetic. He gives an in-depth account of their training and early careers, their relation to key architects and movements of the time, and the commissioning, design, and construction of their work. This critical reassessment dispels previous myths and inaccuracies regarding their partnership and analyzes how ideas about mannerism, modernism, nostalgia, community, consumerism, Victorian cities, and institutional typologies influenced their designs. Stirling and Gowan positions their avant-garde creations within a larger context as creative responses to Britain's postwar deindustrialization and the shift from austerity to affluence. Published for the Paul Mellon Centre for Studies in British Art

Much of modernist architecture was inspired by the emergence of internationalism: the ethics and politics of world peace, justice and unity through global collaboration. Mark Crinson here shows how the ideals represented by the Tower of Babel - built, so the story goes, by people united by one language - were effectively adapted by internationalist architecture, its styles and practices, in the modern period. Focusing particularly on the points of convergence between modernist and internationalist trends in the 1920s, and again in the immediate post-war years, he underlines how such architecture utilised the themes of a cooperative community of builders and a common language of forms.The 'International Style' was one manifestation of this new way of thinking, but Crinson shows how the aims of modernist architecture frequently engaged with the substance of an internationalist mindset in addition to sharing surface similarities. Bringing together the visionaries of internationalist projects - including Le Corbusier, Bruno Taut, Berthold Lubetkin, Walter Gropius and Mies van der Rohe - Crinson interweaves ideas of evolution, ecology, utopia, regionalism, socialism, free trade, and anti-colonialism to reveal the possibilities heralded by modernist architecture. Furthermore, he re-connects pivotal figures in architecture with a cast of polymath internationalists such as Patrick Geddes, Lewis Mumford, Julian Huxley, Rabindranath Tagore and H. G. Wells, to provide a richly detailed socio-cultural framework. This is a book crafted for students and scholars of architecture and art theory, as well as for those interested in the history of twentieth-century optimism about the world and its architecture.

What is the place of architecture in the history of art? Why has it been at times central to the discipline, and at other times seemingly so marginal? What is its place now? Many disciplines have a stake in the history of architecture - sociology, anthropology, human geography, to name a few. This book deals with perhaps the most influential tradition of all - art history - examining how the relation between the disciplines of art history and architectural history has waxed and waned over the last one hundred and fifty years. In this highly original study, Mark Crinson and Richard J. Williams point to a decline in the importance attributed to the role of architecture in art history over the last century - which has happened without crisis or self-reflection. The book explores the problem in relation to key art historical approaches, from formalism, to feminism, to the social history of art, and in key institutions from the Museum of Modern Art, to the journal October. Among the key thinkers explored are Banham, Baxandall, Giedion, Panofsky, Pevsner, Pollock, Riegl, Rowe, Steinberg, Wittkower and Woelfflin. The book will provoke debate on the historiography and present state of the discipline of art history, and it makes a powerful case for the reconsideration of architecture.