Book of Ruins offers a survey - not encyclopedic, but substantial - of leading moments when the fact and idea of ruins were taken up by writers, travellers and artists: painters, film makers, landscape architects, and architects. Gathering together short texts and extracts that describe and reflect on ruins, dating from remote antiquity (Scipio shedding tears when viewing the destruction of Carthage) to present times (the ruins of a modern city, portrayed in the film Requiem for Detroit), it provides a perspective upon what the past has meant to different cultures at different times. Following an introductory essay, the book includes 70 entries, chronologically ordered, each including an attractive indicative image (or two), an introductory commentary by the authors, and the text itself. The texts come from designers (from Bernini through Piranesi to David Chipperfield) as well as other artists (John Piper), and from literary figures (Goethe, Wordsworth, Byron and Shelley, Hugo, and Hardy). It concludes by discussing what we do with ruins by way of preservation, conservation, adaptive reuse and appropriation, and contemporary loss and ruin, as illustrated by 9/11 and the Neues Museum and highlighting the continuing relevance of the ruin.

Existing histories of modern architecture typically give their highest praise to private houses and their most severe condemnation to architect-authored urban plans, often neglecting the built works that are no smaller than a single building and possibly as large as an urban block, the middle or institutional scale, where culturally significant urban transformation actually takes place. Urban architecture is a timely topic as today cities worldwide are suffering accelerated urbanisation, which is often dehumanising and destructive, especially to the unbuilt environment, airs, waters and soils. The middle or institutional scale is shown to activate and actualise latent potentials for cultural experience and environmental intelligence, allowing the city to surprise itself and delight in its discoveries. In Projecting Urbanity, David Leatherbarrow, via author-architect texts by his former doctorate students, lays out the basis for a revision of modern architecture's contribution to cities and their culture. Presenting a series of texts featuring buildings or their parts of various scales - from the construction detail, to the room or garden, to ensembles within a neighborhood - the contributors introduce concepts for contemporary and future urban architecture, together with richly indicative examples from the past several decades. While architecture cannot "solve" today's urban problems, it certainly has a role to play in their productive transformation, articulating opportunities for life and culture that are more humane, less wasteful, and more beautiful.

Three Cultural Ecologies reverses common conceptions of modern architecture. It reveals how selected works of two modern architects, Le Corbusier and Frank Lloyd Wright, embraced environmental and cultural conditions as reciprocal and complementary. A basic premise of this book's arguments is that cultural patterns cannot be adequately conceptualized in the terms that typically define ecology today. Instead, studies based on the natural sciences must be complemented by descriptions and interpretations of historical narratives, cultural norms, and individual expressions. Previously unpublished images and new interpretations will allow readers to rediscover works they thought they knew; Villa Savoye, Taliesin, La Tourette, and Ocatilla; as well as projects that are less well known: by Wright, the House on the Mesa and the City Residential Plan, and by Le Corbusier, the Immeuble-villas and Ilot Insalubre projects. More broadly, this study of cultural ecology at three scales - domestic, monastic, and urban - reconsiders the history of modern architecture. The conditions brought about by societal and technological modernization and confronted by modern architecture have not disappeared in our time, but have intensified, making the task of imagining how some measure of equilibrium between culture and ecology might be achieved even more pressing.

Three Cultural Ecologies reverses common conceptions of modern architecture. It reveals how selected works of two modern architects, Le Corbusier and Frank Lloyd Wright, embraced environmental and cultural conditions as reciprocal and complementary. A basic premise of this book's arguments is that cultural patterns cannot be adequately conceptualized in the terms that typically define ecology today. Instead, studies based on the natural sciences must be complemented by descriptions and interpretations of historical narratives, cultural norms, and individual expressions. Previously unpublished images and new interpretations will allow readers to rediscover works they thought they knew; Villa Savoye, Taliesin, La Tourette, and Ocatilla; as well as projects that are less well known: by Wright, the House on the Mesa and the City Residential Plan, and by Le Corbusier, the Immeuble-villas and Ilot Insalubre projects. More broadly, this study of cultural ecology at three scales - domestic, monastic, and urban - reconsiders the history of modern architecture. The conditions brought about by societal and technological modernization and confronted by modern architecture have not disappeared in our time, but have intensified, making the task of imagining how some measure of equilibrium between culture and ecology might be achieved even more pressing.

This is the fifth book in a series of publications documenting the recent work of the award-winning, London- and Singapore-based architectural practice Eric Parry Architects.Volume 5 explores cultural, residential and commercial projects, from London's Fen Court, 30 St James's Square, Vicarage Gate and Buckingham Palace Road to Cambridge Assessment, One Chamberlain Square in Birmingham, Wilmar Headquarters in Singapore, and many more.With an introduction by the renowned architectural writer and academic David Leatherbarrow and main text by the internationally acclaimed author and academic Dagmar Motycka Weston, volume 5 features striking photography and focuses on the practice's approach to craft and materials in a variety of contextual interventions.

While most books on architecture concentrate on spatial themes, this book explores architecture’s temporal dimensions. Through a series of close readings of buildings, both contemporary and classic, it demonstrates the centrality of time in modern architecture, and shows why an understanding of time is critical to understanding good architecture. All buildings exist in time. Even if designed for permanence, they change, slowly but inevitably. They change use, they accrue history and meaning, they decay – all of these processes are inscribed in time. So too is the path traced by the sun through a building, and the movements of the human body from room to room. Time, this book argues, is the framework for our spatial experience of architecture, and a key dimension of a building’s structure and significance. Building Time presents twelve close readings of buildings and artworks which explore this idea. Examining works by distinctive modern architects – from Eileen Gray to Álvaro Siza and Wang Shu – it takes the reader, in some cases literally step-by-step, through a built work, and provides insightful reflections on the importance of ‘making space for time’ in architectural design. This is a book for both theorists and for architectural designers. Through it, theorists will find a way to rethink the fundamental premises and aims of design work, while designers will rediscover the order and ideas that shape the world around them—its buildings, interiors, and landscapes.

A study of the building surface, architecture's primary instrument of identity and engagement with its surroundings. Visually, many contemporary buildings either reflect their systems of production or recollect earlier styles and motifs. This division between production and representation is in some ways an extension of that between modernity and tradition. In this book, David Leatherbarrow and Mohsen Mostafavi explore ways that design can take advantage of production methods such that architecture is neither independent of nor dominated by technology. Leatherbarrow and Mostafavi begin with the theoretical and practical isolation of the building surface as the subject of architectural design. The autonomy of the surface, the "free facade," presumes a distinction between the structural and nonstructural elements of the building, between the frame and the cladding. Once the skin of the building became independent of its structure, it could just as well hang like a curtain, or like clothing. The focus of the relationship between structure and skin is the architectural surface. In tracing the handling of this surface, the authors examine both contemporary buildings and those of the recent past. Architects discussed include Albert Kahn, Ludwig Mies van der Rohe, Alison and Peter Smithson, Alejandro de la Sota, Robert Venturi, Jacques Herzog, and Pierre de Meuron. The properties of a building's surface-whether it is made of concrete, metal, glass, or other materials-are not merely superficial; they construct the spatial effects by which architecture communicates. Through its surfaces a building declares both its autonomy and its participation in its surroundings.