This text is designed to be used on its own, or as a companion volume to the accompanying "American Cities and Technology Reader". Chronologically, this volume ranges from 1790, when the first US census reported 5 percent of the population living in urban areas, to 1990, when 75 percent of the American population lived in urban areas. Geographically, its focus is the continental USA. However, the context for the study of modern electronic communications in relation to cities transcends national boundaries just as the technologies themselves do; consequently the contents of the last two chapters in the volume range more widely around the globe. Among the issues discussed are the rise of the skyscraper, the coming of the automobile age, relations between private and public transport, the development of infrastructural technologies and systems, the implications of electronic communications and the emergence of city planning.

Originally published in 1971 The Geometry of Environment is a fusion of art and mathematics introducing stimulating ideas from modern geometry, using illustrations from architecture and design. The revolution in the teaching of mathematics and the advent of the computer in design challenge traditional ways of appreciating the space about us, and expand the 'structural' understanding of our surroundings through such concepts as transformations, symmetry groups, sets and graphs. This book aims to show the relevance of 'new maths' and encourages exploration of the widening intellectual horizons of environmental design and architecture.

This book tells the history of the many analogies that have been made between the evolution of organisms and the human production of artefacts, especially buildings. It examines the effects of these analogies on architectural and design theory and considers how recent biological thinking has relevance for design.

Architects and designers have looked to biology for inspiration since the early 19th century. They have sought not just to imitate the forms of plants and animals, but to find methods in design analogous to the processes of growth and evolution in nature.

This new revised edition of this classic work adds an extended Afterword covering recent developments such as the introduction of computer methods in design in the 1980s and '90s, which have made possible a new kind of 'biomorphic' architecture through 'genetic algorithms' and other programming techniques.

Originally published in 1971 The Geometry of Environment is a fusion of art and mathematics introducing stimulating ideas from modern geometry, using illustrations from architecture and design. The revolution in the teaching of mathematics and the advent of the computer in design challenge traditional ways of appreciating the space about us, and expand the ‘structural’ understanding of our surroundings through such concepts as transformations, symmetry groups, sets and graphs. This book aims to show the relevance of ‘new maths’ and encourages exploration of the widening intellectual horizons of environmental design and architecture.

This book brings together a dozen of Philip Steadman's essays and papers on the geometry of architectural and urban form, written over the last 12 years. New introductions link the papers and set them in context. There are two large themes: a morphological approach to the history of architecture, and studies of possibility in built form. Within this framework the papers cover the geometrical character of the building stock as a whole; histories of selected building types; analyses of density and energy in relation to urban form; and systematic methods for enumerating building plans and built forms. They touch on a range of key topics of debate in architectural theory and building science. Illustrated with over 200 black and white images, this collection provides an accessible and coherent guide to this important work.

Designed to be used on its own or as a companion volume to the American Cities and Technology textbook. Chronologically, this volume ranges from the earliest technological dimensions of Amerindian settlements to the 'wired city' concept of the 1960s and internet communications of the 1990s.Its focus extends beyond the US to include telecomunications in Asian cities in the late 20th century. The topics covered:
* the rise of the skyscraper
*the coming of the automobile age
* relations between private and public transport
* the development of infrastructural technologies and systems
* the implications of electronic communications
* the emergence of city planning.

This book tells the history of the many analogies that have been made between the evolution of organisms and the human production of artefacts, especially buildings. It examines the effects of these analogies on architectural and design theory and considers how recent biological thinking has relevance for design.

Architects and designers have looked to biology for inspiration since the early 19th century. They have sought not just to imitate the forms of plants and animals, but to find methods in design analogous to the processes of growth and evolution in nature.

This new revised edition of this classic work adds an extended Afterword covering recent developments such as the introduction of computer methods in design in the 1980s and '90s, which have made possible a new kind of 'biomorphic' architecture through 'genetic algorithms' and other programming techniques.

This book brings together a dozen of Philip Steadman's essays and papers on the geometry of architectural and urban form, written over the last 12 years. New introductions link the papers and set them in context. There are two large themes: a morphological approach to the history of architecture, and studies of possibility in built form. Within this framework the papers cover the geometrical character of the building stock as a whole; histories of selected building types; analyses of density and energy in relation to urban form; and systematic methods for enumerating building plans and built forms. They touch on a range of key topics of debate in architectural theory and building science. Illustrated with over 200 black and white images, this collection provides an accessible and coherent guide to this important work.

A year after the second edition of his famous translation and commentary on Vitruvius, Daniele Barbaro published The Practice of Perspective, a text he had begun working on many years before. Barbaro was the first to publish a formal treatise entirely dedicated to the science of geometric perspective. In an informal style especially addressed to practicing artists and architects, Barbaro begins by drawing on and expanding the manuscript treatise of Piero della Francesca with regards to basics of perspective constructions for representing three-dimensional solids on two-dimensional media, and then goes on to show that perspective is a particularly suitable instrument for other scientific and artistic applications as well, including cartography, cosmology, stage set design, and anamorphosis. Here for the first time Barbaro's The Practice of Perspective is made available to contemporary scholars in an English translation, augmented by annotations relating the printed treatise to the three unpublished manuscripts in Italian and Latin of the work now conserved in Venice's Biblioteca Nazionale Marciana. A foreword by Philip Steadman sets the stage for this book. In-depth essays by authors Kim Williams and Cosimo Monteleone situate the treatise within the editorial panorama of the Cinquecento, outline the innovations that Barbaro brought to the study of perspective, and focus particularly on his creative explorations of geometric solids and the construction of clocks. Sometimes dismissed in recent studies as a compilation of known principles, the aim of this present book is to reveal the truly innovative nature of Barbaro's experiments and results and restore him to his rightful place as an original scholar of Renaissance perspective theory.

Over 100 years of speculation and controversy surround claims that the great seventeenth-century Dutch artist, Johannes Vermeer, used the camera obscura to create some of the most famous images in Western art. This book is an intellectual detective story, meticulously reconstructing the artist's studio, complete with a camera obscura, providing exciting new evidence to support the view that Vermeer did indeed use the camera.