Lost Futures looks in detail at the wide range of buildings constructed in Britain between 1945 and 1979. Although their bold architectural aspirations reflected the forward-looking social ethos of the postwar era, many have since been either demolished or altered beyond recognition.Photographs taken at the time of their completion are accompanied by expertly researched captions that examine the buildings' design, creation, the ideals they embodied and the reasons for their eventual destruction. Lost Futures covers many building types, from housing to factories, commercial spaces and power stations, and presents the work of both iconic and lesser-known architects. The author charts the complex reasons that led to the loss of these projects' ambitious futures, and assesses whether some might one day be recaptured.

Guest-edited by Owen Hopkins Multispace exists at the intersection of the physical and digital, and in the blurring of their previously clear dividing lines. Multispace is not a single space, but a hybrid space where, in effect, we occupy multiple spaces simultaneously. We enter it on a Zoom call, when we are in our office and in a meeting with 20 people; when we are cycling down a country lane whilst racing against thousands of others who also use the Strava app; when we are watching a TV show while live tweeting; or, perhaps most literally, when wandering around the local park looking for creatures that only appear on a smartphone screen. A fundamental question of this AD is why the phenomena that multispace describes are of concern to architects. The answer is that multispace points to a situation that is at root an architectural one. Offering both a collective and highly personalised experience, static and dynamically customisable, and above all at the same time public and private, multispace lies at the centre of a set of tensions, concerns and preoccupations at the core of our conception of architecture as theory and practice. It is the messy space between, with rough and uneven edges that are constantly shifting. Contributors: Aleksandra Belitskaja, Alice Bucknell, Jesse Damiani, Wendy Fok, Andrew Kovacs, Lara Lesmes and Fredrik Hellberg, Micaela Mantegna, Holly Nielsen, Giacomo Pala, Paula Strunden, Lucia Tahan, and Francesca Torello and Joshua Bard. Featured architects and artists: iheartblob, Ibiye Campis, Office Kovacs, Space Popular and Liam Young.

An unprecedented survey of more than 250 architects who continue to define one of the most polarizing yet celebrated of styles Brutalist architecture inspires a passionate response, be it adulation or contempt. There is no disputing, however, that the style produces some of the world's most breathtaking buildings. This landmark volume documents the movement as never before, by profiling the architects behind the style. Featuring more than 250 historic and contemporary architects (organised alphabetically) along with specially selected examples of their work, this book includes international icons alongside those who are less well known or who have for too long been neglected, providing a unique record of this influential global architecture movement. The book includes 350 stunning images of more than 200 iconic Brutalist buildings, alongside fresh and surprising masterworks from 1936 to the present day, creating the ultimate companion to the Brutalist masters. Featured architects include: John Andrews; Joao Batista Vilanova Artigas; Lina Bo Bardi; Bogdan Bogdanovic; Marcel Breuer; Douglas Cardinal; Andre-Jacques Dunoyer de Segonzac; Bertrand Goldberg; Erno Goldfinger; Jadwiga Grabowska-Hawrylak; Agustin Hernandez Navarro; John M. Johansen; Louis I. Kahn; Denys Lasdun; Le Corbusier; Joao da Gama Filgueiras Lima; Alberto Linner Diaz; Owen Luder; Paulo Mendes da Rocha; Oscar Niemeyer; William L. Pereira; Affonso Eduardo Reidy; Paul Rudolph; Moshe Safdie; Alison Smithson; Clorindo Testa; Decio Tozzi; and John Carl Warnecke

This beautiful and visually immersive book charts the fascinating story of the institution of the Museum, from its origins to the present. Visited by millions around the world every year, museums are one of mankind's most essential creations. They tell stories, shape cultural identities and hold valuable insight about the past and about the future. This captivating works charts a path from the very first collection through to the latest developments in cultural curation, interweaving Using examples of the greatest cultural institutions to shape the narrative, historian and academic Owen Hopkins draws on his deep knowledge of the field to outline the history of the museum movement. Tracking the evolution from princely collections in Europe and the Enlightenment's classically inspired temples of curiosities, via the public museums of the late nineteenth century, on to today's global era oficonic buildings designed by the world's leading architects, this book is a vital work for anyone seeking to understand the development of the museum into what it is today. Over the course of five chapters filled with stunning imagery that highlights the beauty of these venerated buildings, the origins of key institutions are revealed, including: Louvre Metropolitan Museum of Art British Museum Tate Modern The Hermitage Guggenheim Smithsonian Institute Acropolis Museum Also outlined are the motivations of the architects, curators and patrons who have shaped how we experience the modern museum, a cast that includes names such as King George II, Napoleon, Henry Clay Frick, Peggy Guggenheim, Andrew Carnegie, Alfred Barr, Frank Lloyd Wright, Le Corbusier, Frank Gehry, Richard Rogers, Nicholas Serota and Zaha Hadid. By examining how these venues became intrinsic to our shared cultural experience, analysing the changing roles they play in society and questioning what the future holds in a digital age, this book is for anyone who has stood in awe at the spectacle of a museum.

Far and away the best narrative of western architecture in existence...it stands out as an intellectual triumph. - Sir John Summerson In this highly acclaimed, classic reference work David Watkin traces the history of western architecture from the earliest times in Mesopotamia and Egypt to the late twentieth century. For this seventh edition, revising author Owen Hopkins provides a new introduction contextualizing Watkin's approach. The final chapter on the twenty-first century has been completely rewritten by Hopkins, who brings the story right up to date with the inclusion of such topics as re-use, digital cities and virtual architecture.

Anyone with an interest in buildings and the built environment would do well to purchase a copy of Owen Hopkins' book. - Monocle This innovative and unique book is a visual guide to the buildings that surround us. Architectural features are pinpointed and labelled on images of buildings so that, unlike with other architectural dictionaries, you don't have to know the name before looking it up. Clear line drawings and extensive colour photographs illustrate each of the main building types, from forts to churches, stately homes to skyscrapers. The individual structural elements and materials common to all buildings are then explained, whether in Classical, Gothic or Modernist style. A comprehensive glossary completes the book. This revised edition includes an expanded section on modern structures and materials, as well as the latest styles and concepts from the last ten years. A must for all lovers of architecture and those who would like to learn more Over 11,000 copies sold in English worldwide Covers all key building types and styles, from cathedrals to skyscrapers, Classical to contemporary. Each building type is illustrated with extensive photographs and annotated drawings Contains a comprehensive glossary of architectural terms

'We build "new into old"': since Chris Dyson set up his own practice in 2004, he has gained a reputation as one of the foremost historic conservation architects, poetically adapting listed buildings for the 21st century. Yet the vigour and originality he brings to his work is far from a conventional conservation approach. Dyson’s is an architecture seemingly with no rules, yet at the same time marked by a recurring interest in the interactions between people and city, culture and community. Dyson’s work is indelibly associated with Spitalfields, having lived and worked there since 1990, and it’s a place that provides a fitting metaphor for his architecture. Over its history Spitalfields has been subject to recurring waves of new people and cultures, which has created somewhere defined by its rich cultural and material layers. And so with Dyson’s architecture, in which, even with new-build projects, there’s an overriding sense of different elements – be they material, temporal or cultural – coming together into coherent wholes. Dyson’s is that rare thing: architecture that feels old and new at the same time. This volume is the first sustained critical analysis of Chris Dyson Architect’s philosophy, approach and body of work, focusing on their particular expertise in being sensitive to a sense of place, history and heritage.

Have you ever wondered what the difference is between Gothic and Gothic Revival, or how to distinguish between Baroque and Neoclassical? This guide makes extensive use of photographs to identify and explain the characteristic features of nearly 300 buildings. The result is a clear and easy-to-navigate guide to identifying the key styles of western architecture from the classical age to the present day.

A curated collection of Postmodern architecture in all its glorious array of vivid non-conformity This unprecedented book takes its subtitle from Postmodernist icon Robert Venturi's spirited response to Mies van der Rohe's dictum that 'less is more'. One of the 20th century's most controversial styles, Postmodernism began in the 1970s, reached a fever pitch of eclectic non-conformity in the 1980s and 90s, and after nearly 40 years is now enjoying a newfound popularity. Postmodern Architecture showcases examples of the movement in a rainbow of hues and forms from around the globe.

John Marx's watercolours, first published in the Architectural Review, are a captivating example of an architect's way of thinking. Subtle and quiet they are nonetheless compelling works in how they tackle a sense of place, of inhabiting space and time all the while resonating with the core of one's inner being. There is an existential quality to these watercolours that is rare to be found in this medium. Something akin to the psychologically piercing observational quality of artists like De Chirico or Hopper. As architects strive to communicate their ideas, it is interesting to explore the world of Marx's watercolours as an example of a humane approach to conveying emotional meaning in relation to our environment. Marx's subject matter read like"built landscape" heightening the role of the manmade yet wholly in balance with the natural world. This is a message and sentiment that is perhaps more important than ever to relay to audiences.

Nicholas Hawksmoor (1662-1736) is considered one of Britain's greatest architects. He was involved in the grandest architectural projects of his age and today is best known for his London churches - six idiosyncratic edifices of white Portland stone that remain standing today, proud and tall in the otherwise radically changed cityscape. Until comparatively recently, however, Hawksmoor was thought to be, at best, a second-rate talent: merely Sir Christopher Wren's slightly odd apprentice, or the practically minded assistant to Sir John Vanbrugh. This book brings to life the dramatic story of Hawksmoor's resurrection from the margins of history.Charting Hawksmoor's career and the decline of his reputation, Owen Hopkins offers fresh interpretations of many of his famous works - notably his three East End churches - and shows how over their history Hawksmoor's buildings have been ignored, abused, altered, recovered and celebrated. Hopkins also charts how, as Hawksmoor returned to prominenceduring the twentieth century, his work caught the eye of observers as diverse as T. S.Eliot, James Stirling, Robert Venturi and, most famously, Peter Ackroyd, whose novel Hawksmoor (1985) popularized 12 the mythical association of his work with the occult. Meanwhile, passionate campaigns were mounted to save and restore Hawksmoor's churches, reflecting the strange hold his architecture can have over observers. There is surely no other body of work in British architectural history with the same capacity to intrigue and inspire, perplex and provoke as Hawksmoor's has done for nearly three centuries.