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Drawing Parallels expands your understanding of the workings of
architects by looking at their work from an alternative
perspective. The book focuses on parallel projections such as
axonometric, isometric, and oblique drawings. Ray Lucas argues that
by retracing the marks made by architects, we can begin to engage
more directly with their practice as it is only by redrawing the
work that hidden aspects are revealed. The practice of drawing
offers significantly different insights, not easily accessible
through discourse analysis, critical theory, or observation. Using
James Stirling, JJP Oud, Peter Eisenman, John Hejduk, and Cedric
Price as case studies, Lucas highlights each architect's creative
practices which he anaylses with reference to Bergson's concepts of
temporality and cretivity, discussing ther manner in which creative
problems are explored and solved. The book also draws on a range of
anthropological ideas including skilled practice and enchantment in
order to explore why axonometrics are important to architecture and
questions the degree to which the drawing convention influences the
forms produced by architects. With 60 black-and-white images to
illustrate design development, this book would be an essential read
for academics and students of architecture with a particular
interest in further understanding the inner workings of the
architectural creative process.
Historically the urban festival served as an occasion for affirming
shared convictions and identities in the life of the city. Whether
religious or civic in nature, these events provided tangible
expressions of social, cultural, political, and religious cohesion,
often reaffirming a particular shared ethos within diverse urban
landscapes. Architecture has long served as a key aspect of this
process exhibiting continuity in the flux of these representations
through the parading of elaborate ceremonial floats, the
construction of temporary buildings, the 'dressing' of existing
urban space, the alternative occupations of the everyday, and the
construction of new buildings and spaces which then become a part
of the background fabric of the city. This book examines how
festivals can be used as a lens to examine the relationship between
city and citizen and questions whether this is fixed through time,
or has been transformed as a response to changes in the modern
urban condition. Architecture, Festival and the City looks at the
multilayered nature of a diverse selection of festivals and the way
they incorporate both orderly (authoritative) and disorderly
(subversive) components. The aim is to reveal how the civic nature
of urban space is utilised through festival to represent ideas of
belonging and identity. Recent political and social gatherings also
raise questions about the relationship of these events to 'ritual'
and whether traditional practices can serve as meaningful
references in the twenty-first century.
Historically the urban festival served as an occasion for affirming
shared convictions and identities in the life of the city. Whether
religious or civic in nature, these events provided tangible
expressions of social, cultural, political, and religious cohesion,
often reaffirming a particular shared ethos within diverse urban
landscapes. Architecture has long served as a key aspect of this
process exhibiting continuity in the flux of these representations
through the parading of elaborate ceremonial floats, the
construction of temporary buildings, the 'dressing' of existing
urban space, the alternative occupations of the everyday, and the
construction of new buildings and spaces which then become a part
of the background fabric of the city. This book examines how
festivals can be used as a lens to examine the relationship between
city and citizen and questions whether this is fixed through time,
or has been transformed as a response to changes in the modern
urban condition. Architecture, Festival and the City looks at the
multilayered nature of a diverse selection of festivals and the way
they incorporate both orderly (authoritative) and disorderly
(subversive) components. The aim is to reveal how the civic nature
of urban space is utilised through festival to represent ideas of
belonging and identity. Recent political and social gatherings also
raise questions about the relationship of these events to 'ritual'
and whether traditional practices can serve as meaningful
references in the twenty-first century.
Drawing Parallels expands your understanding of the workings of
architects by looking at their work from an alternative
perspective. The book focuses on parallel projections such as
axonometric, isometric, and oblique drawings. Ray Lucas argues that
by retracing the marks made by architects, we can begin to engage
more directly with their practice as it is only by redrawing the
work that hidden aspects are revealed. The practice of drawing
offers significantly different insights, not easily accessible
through discourse analysis, critical theory, or observation. Using
James Stirling, JJP Oud, Peter Eisenman, John Hejduk, and Cedric
Price as case studies, Lucas highlights each architect's creative
practices which he anaylses with reference to Bergson's concepts of
temporality and cretivity, discussing ther manner in which creative
problems are explored and solved. The book also draws on a range of
anthropological ideas including skilled practice and enchantment in
order to explore why axonometrics are important to architecture and
questions the degree to which the drawing convention influences the
forms produced by architects. With 60 black-and-white images to
illustrate design development, this book would be an essential read
for academics and students of architecture with a particular
interest in further understanding the inner workings of the
architectural creative process.
What can architects learn from anthropologists? This is the central
question examined in Anthropology for Architects - a survey and
exploration of the ideas which underpin the correspondence between
contemporary social anthropology and architecture. The focus is on
architecture as a design practice. Rather than presenting
architectural artefacts as objects of the anthropological gaze, the
book foregrounds the activities and aims of architects themselves.
It looks at the choices that designers have to make - whether
engaging with a site context, drawing, modelling, constructing, or
making a post-occupancy analysis - and explores how an
anthropological view can help inform design decisions. Each chapter
is arranged around a familiar building type (including the studio,
the home, markets, museums, and sacred spaces), in each case
showing how anthropology can help designers to think about the
social life of buildings at an appropriate scale: that of the
individual life-worlds which make up the everyday lives of a
building's users. Showing how anthropology offers an invaluable
framework for thinking about complex, messy, real-world situations,
the book argues that, ultimately, a truly anthropological
architecture offers the potential for a more socially informed,
engaged and sensitive architecture which responds more directly to
people's needs. Based on the author's experience teaching as well
as his research into anthropology by way of creative practice, this
book will be directly applicable to students and researchers in
architecture, landscape, urban design, and design anthropology, as
well as to architectural professionals.
This book contains papers from the January 2008 conference, Sensory
Urbanism, held by the University of Strathclyde, Glasgow, UK.
Papers deal with issues surrounding the sensory perception of urban
design and how to design better for all the senses. The book is
illustrated throughout, and contains 26 papers from fields
including architecture, urban design, environmental psychology,
urban design, planning, sound design and more.
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