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For roughly a century, the log cabin occupied a central and indispensable role in the rapidly growing United States. Although it largely disappeared as a living space, it lived on as a symbol of the settling of the nation. In her thought-provoking and generously illustrated new book, Alison Hoagland looks at this once-common dwelling as a practical shelter solution-easy to construct, built on the frontier's abundance of trees, and not necessarily meant to be permanent-and its evolving place in the public memory. Hoagland shows how the log cabin was a uniquely adaptable symbol, responsive to the needs of the cultural moment. It served as the noble birthplace of presidents, but it was also seen as the basest form of housing, accommodating the lowly poor. It functioned as a paragon of domesticity, but it was also a basic element in the life of striving and wandering. Held up as a triumph of westward expansion, it was also perceived as a building type to be discarded in favor of more civilized forms. In the twentieth century, the log cabin became ingrained in popular culture, serving as second homes and motels, as well as restaurants and shops striking a rustic note. The romantic view of the past, combined with the log cabin's simplicity, solidity, and compatibility with nature, has made it an enduring architectural and cultural icon. Preparation of this volume has been supported by Furthermore: a program of the J. M. Kaplan Fund
As cities compete globally, the Smart City has been touted as the important new strategic driver for regeneration and growth. Smart Cities are employing information and communication technologies in the quest for sustainable economic development and the fostering of new forms of collective life. This has made the Smart City an essential focus for engineers, architects, urban designers, urban planners, and politicians, as well as businesses such as CISCO, IBM and Siemens. Despite its broad appeal, few comprehensive books have been devoted to the subject so far, and even fewer have tried to relate it to cultural issues and to assume a truly critical stance by trying to decipher its consequences on urban space and experience. This cultural and critical lens is all the more important as the Smart City is as much an ideal permeated by Utopian beliefs as a concrete process of urban transformation. This ideal possesses a strong self-fulfilling character: our cities will become 'Smart' because we want them to. This book opens with an examination of the technological reality on which Smart Cities are built, from the chips and sensors that enable us to monitor what happens within the infrastructure to the smartphones that connect individuals. Through these technologies, the urban space appears as activated, almost sentient. This activation generates two contrasting visions: on the one hand, a neo-cybernetic ambition to steer the city in the most efficient way; and on the other, a more bottom-up, participative approach in which empowered individuals invent new modes of cooperation. A thorough analysis of these two trends reveals them to be complementary. The Smart City of the near future will result from their mutual adjustment. In this process, urban space plays a decisive role. Smart Cities are contemporary with a 'spatial turn' of the digital. Based on key technological developments like geo-localisation and augmented reality, the rising importance of space explains the strategic role of mapping in the evolution of the urban experience. Throughout this exploration of some of the key dimensions of the Smart City, this book constantly moves from the technological to the spatial as well as from a critical assessment of existing experiments to speculations on the rise of a new form of collective intelligence. In the future, cities will become smarter in a much more literal way than what is often currently assumed.
For the past 150 years, architecture has been a significant tool in the hands of city planners and leaders. In Creating Cities/Building Cities, Peter Karl Kresl and Daniele Ietri illustrate how these planners and leaders have utilized architecture to achieve a variety of aims, influencing the situation, perception and competitiveness of their cities. Whether the objective is branding, re-vitalization of the economy, beautification, development of an economic and business center, status development, or seeking distinction with the tallest building, distinctive architecture has been an essential instrument for those who manage the course of a city's development. Since the 1870s, and the reconstruction of Chicago following the Great Fire, architecture has been affected powerfully by advances in design, technology and materials used in construction. The authors identify several key elements in such a strategic initiative, and in the penultimate chapter examine several cases of cities that have ignored one or more of these elements and have failed in their attempt. A unique set of insights into this fascinating topic, this study will appeal to specialists in urban planning, economic geography, and architecture. Readers interested in urban development will also find its coverage accessible and enlightening.
In this book, a number of protagonists of Italian modern architecture provide vivid dialogues - here taken to mean 'the talking of the soul with itself' - on how they perceive the interaction between idea, design and construction. Drawing on these personal views, Dialogues on Architecture explores the relationship that exists between the poetic and the technical-scientific spheres in architecture, underlining their complementary and conflictual natures. Dialogues on Architecture rejects the interpretation of architecture as orientated exclusively towards the end result and reconnects the previously interrupted narratives that follow a design from its conception to its completion. Featuring texts from Franco Albini, Lodovico B. di Belgiojoso, Guido Canella, Aurelio Cortesi, Roberto Gabetti & Aimaro Isola, Ignazio Gardella, Vittorio Gregotti, Vico Magistretti, Enrico Mantero, Paolo Portoghesi, Aldo Rossi, Giuseppe Terragni, and Vittoriano Vigano.
First published in 1996, "The Eyes of the Skin" has become a classic of architectural theory. It asks the far-reaching question why, when there are five senses, has one single sense - sight - become so predominant in architectural culture and design? With the ascendancy of the digital and the all-pervasive use of the image electronically, it is a subject that has become all the more pressing and topical since the first edition's publication in the mid-1990s. Juhani Pallasmaa argues that the suppression of the other four sensory realms has led to the overall impoverishment of our built environment, often diminishing the emphasis on the spatial experience of a building and architecture's ability to inspire, engage and be wholly life enhancing.
For every student studying Pallasmaa's classic text for the first time, "The Eyes of the Skin" is a revelation. It compellingly provides a totally fresh insight into architectural culture. This third edition meets readers' desire for a further understanding of the context of Pallasmaa's thinking by providing a new essay by architectural author and educator Peter MacKeith. This text combines both a biographical portrait of Pallasmaa and an outline of his architectural thinking, its origins and its relationship to the wider context of Nordic and European thought, past and present. The focus of the essay is on the fundamental humanity, insight and sensitivity of Pallasmaa's approach to architecture, bringing him closer to the reader. This is illustrated by Pallasmaa's sketches and photographs of his own work. The new edition also provides a foreword by the internationally renowned architect Steven Holl and a revised introduction by Pallasmaa himself.
The first authoritative collection of drawings by legendary modern architect Lina Bo Bardi Lina Bo Bardi (1914-92) was one of the most prolific and visionary architects of the twentieth century. Raised in Italy under Mussolini's Fascist regime and emigrating to Brazil after World War II, she championed the power of architecture and design to embrace everyday life. Her boldly modernist designs range from concrete-and-glass structures like the Sao Paulo Museum of Art and the culture and leisure center SESC Pompeia to furniture and jewelry. This is the first book to examine one of the most intimate and expressive features of her life and work, but one she rarely shared with the public-drawing. Bo Bardi produced thousands of drawings in her lifetime, from picturesque landscapes drawn when she was a child, to sketches made as part of her daily routine as an architect, to fanciful drawings that show different aspects of her private life. In this beautifully illustrated book, Zeuler Lima, the world's leading authority on Bo Bardi, brings together a careful selection of these and other drawings, many of them never published until now. Bo Bardi drew on card stock, tracing paper, regular paper, and newsprint. She used pencils, watercolor, gouache, ballpoint pens, and felt-tips, producing drawings that combined surrealist elements with an eye for color and joyful forms. Lina Bo Bardi, Drawings sheds critical light on the creative sensibility behind some of the twentieth century's most striking modernist designs, and provides a rare window into the design practice of an architect like no other. Published in association with the Fundacio Joan Miro Exhibition Schedule Fundacio Joan Miro, Barcelona February 15-May 19, 2019
The aim of Interior Landscapes is to unveil those invariant forms, principles or concepts that crossed the History of Architecture. Contemporary architecture is often characterised by the total interpenetration of interior and exterior configurations: the differentiation between these two dialectical poles has become indistinguishable, boundaries blurry and the result of any design process is a hybrid product, based on the superposition of different and heterogeneous layers. The impossibility of separating interior and exterior permits a general reorganisation of some topics internal to the territory of architecture, and also expresses the necessity of a systemic analysis of the most recent episodes. If at first glance this interest for a new kind of dialectics may appear as the most evident epiphenomenon of a wider and recent tendency, under careful examination one can observe that the tension between interior and exterior has always been present in architecture, differently articulated over the centuries, and expressed through several means of representation. Starting from the 18th century, "Interior Landscapes" will describe the nature of such a relation, in order to unveil those invariant forms, principles or concepts that crossed the History of Architecture, laid hidden underneath the events flowing, and periodically re-emerged to shape contemporary episodes. Separation, inversion, interpenetration, dissolution - all of these categories periodically characterise the interior-exterior dialectics. By borrowing different interpretative elements - drawings, photographs, illustrations - "Interior Landscapes" is configured as a visual atlas, aimed to demonstrate how, through the contamination of interior and exterior, always-new architectural insights emerge. AUTHOR: Stefano Corbo (b.1981) is an Italian architect, researcher at ETSAM Madrid and assistant professor at the Faculty of Architecture in Alghero, Italy (2011 2012). He received a MArch II in Advanced Architectural Design at ETSAM Madrid (Escuela Tecnica Superior de Arquitectura) in 2010, and is currently a PhD Candidate at the same Institute, with a dissertation titled: 'Archaeology of Infrastructures. A conceptual cartography'. Some of his texts have been published on international magazines ('Mark, CIRCO, CLOG, L Arca, Il Giornale dell Architettura, Dichotomy, Studio Magazine,' etc.) and he lectured as a guest at ETSAM, University of Miami, and University of Wisconsin. He worked as a designer at Mecanoo Architects (Delft, Netherlands) and in 2012 founded his own office: SCSTUDIO (www.scstudio.eu), a multidisciplinary network practising architecture and design. His work has received several awards for international competitions in Italy, Russia, and South Korea; his projects have been published worldwide (Archinect, Archdaily, Accesit, Metalocus). SELLING POINTS: - The aim of 'Interior Landscapes' is to unveil those invariant forms, principles or concepts that crossed the History of Architecture - This book is not a mere academic text on theoretical issues. The book's structure aims to be a graphic atlas, a visual divertissement open to both students-educators and architecture lovers - The book connects the most recent themes of the contemporary debate with those divulgative-commercial intentions that any editorial projects must have - The main challenge of any atlas is to allow connections, comparison, and analogies; the book helps achieve this based on the sequence of graphic illustrations - Theory and practice build a precise and clear structure, where the two essays (introduction and afterword) help to define the illustrations proper fields of action 53 col., 15 b.andw.
Architecture is immersed in an immense cultural experiment called imaging. Yet the technical status and nature of that imaging must be reevaluated. What happens to the architectural mind when it stops pretending that electronic images of drawings made by computers are drawings? When it finally admits that imaging is not drawing, but is instead something that has already obliterated drawing? These are questions that, in general, architecture has scarcely begun to pose , imagining that somehow its ideas and practices can resist the culture of imaging in which the rest of life now either swims or drowns. To patiently describe the world to oneself is to prepare the ground for an as yet unavailable politics. New descriptions can, under the right circumstances, be made to serve as the raw substrate for political impulses that cannot yet be expressed or lived, because their preconditions have not been arranged and articulated. Signal. Image. Architecture. aims to clarify the status of computational images in contemporary architectural thought and practice by showing what happens if the technical basis of architecture is examined very closely, if its technical terms and concepts are taken very seriously, at times even literally. It is not a theory of architectural images, but rather a brief philosophical description of architecture after imaging.
The firm of McCarter & Nairne dominated public architecture in Vancouver from the inception of the partnership between John Y. McCarter (1886-1981) and George C. Nairne (1884-1953) until the completion of the General Post Office in 1958. The respected background and experience of McCarter and Nairne reflected the localization of sophisticated trans-Atlantic architectural practice that both characterized their work and accounted for their success. The holdings of the Canadian Architectural Archives focus on the architecture of twentieth-century Canada and the work of its outstanding architects. The McCarter and Nairne Collection is a very important one within the CAA's holdings, as it is one of the few whose history begins in the twenties on the west coast. As such, it provides a historical context and complement to the CAA's other collections with west coast roots, like the Thompson Berwick Pratt, Arthur Erickson, and Ron Thom collections. It is hoped that this inventory, in both its arrangement and detailed information, will encourage both the appreciation and scholarly interest in one of the most historically significant collections at the Canadian Archtectural Archives.
More than ever, architecture is in need of provocation, a new path beyond the traditional notion that buildings must serve as vessels, or symbols of something outside themselves. Non-Referential Architecture is nothing less than a manifesto for a new architecture. It brings together two leading thinkers, architect Valerio Olgiati and theorist Markus Breitschmid, who have grappled with this problem since their first encounter in 2005. In a world that itself increasingly rejects ideologies of any kind, Olgiati and Breitschmid offer Non-Referential Architecture as a radical, new approach free from rigid ideologies. Non-referential buildings, they argue, are entities that are themselves meaningful outside a vocabulary of fixed symbols and images and their historical connotations. For more than a decade, Olgiati and Breitschmid's thinking has placed them at the forefront of architectural theory. Indispensable for understanding what the future might hold for architecture, Non-Referential Architecture will become a new classic. The book's first edition, published in May 2018 by Simonett & Baer, was sold-out within months. This revised and slightly redesigned new edition makes this key text available again.
In the decades following World War Two, and in part in response to the Cold War, governments across Western Europe set out ambitious programmes for social welfare and the redistribution of wealth that aimed to improve the everyday lives of their citizens. Many of these welfare state programmes - housing, schools, new towns, cultural and leisure centres - involved not just construction but a new approach to architectural design, in which the welfare objectives of these state-funded programmes were delineated and debated. The impact on architects and architectural design was profound and far-reaching, with welfare state projects moving centre-stage in architectural discourse not just in Europe but worldwide. This is the first book to explore the architecture of the welfare state in Western Europe from an international perspective. With chapters covering Austria, Belgium, France, Germany, Italy, The Netherlands, Sweden and the UK, the book explores the complex role played by architecture in the formation and development of the welfare state in both theory and practice. Themes include: the role of the built environment in the welfare state as a political project the colonial dimension of European welfare state architecture and its 'export' to Africa and Asia the role of welfare state projects in promoting consumer culture and economic growth the picture of the collective produced by welfare state architecture the role of architectural innovation in the welfare state the role of the architect, as opposed to construction companies and others, in determining what was built the relationship between architectural and social theory the role of internal institutional critique and the counterculture. Contributors include: Tom Avermaete, Eve Blau, Nicholas Bullock, Miles Glendinning, Janina Gosseye, Hilde Heynen, Caroline Maniaque-Benton, Helena Mattsson, Luca Molinari, Simon Pepper, Michelle Provoost, Lukasz Stanek, Mark Swenarton, Florian Urban and Dirk van den Heuvel.
This series investigates the historical, theoretical and practical aspects of interiors. The volumes in the Interior Architecture series can be used as handbooks for the practitioner and as a critical introduction to the history of material culture and architecture. Hotels occupy a particular place in popular imagination. As a place of exclusive sociability and bohemian misery, a site of crime and murder and as a hiding place for illicit liaison, the hotel has embodied the dynamism of the metropolis since the eighteenth century. This book explores the architectural significance of hotels throughout history and how their material construction has reflected and facilitated the social and cultural practices for which they are renowned. Contemporary developments in the planning and design of hotels are addressed through a series of interviews and case studies. Illustrated throughout, this book is an innovative and important contribution to architectural and interior design theory literature.
With contributions from some of the world 's most advanced thinkers on this subject, this book is essential reading for anyone looking at new ways of thinking about the digital within architecture. It speculates upon implications of Persistent Modelling for architectural practice, reconsidering the relationship between architectural representation and architectural artefact particularly in the fields of responsive and adaptive architectures.
This is the first in a series of seven books that describe and illustrate the seminal architectural traditions of the world. It describes the origins of the Classical tradition in the mountain temples of Sumer, the pyramids of Egypt and the ziggurats of Mesopotamia. The story continues with the temples, theatres, palaces and council chambers of ancient Greece and Rome, and finishes with the adoption of Classical models to house the new institutions of Christian Europe. Excursions along the way take in Mesoamerica and the Andean littoral, and Africa. Not simply a profusely illustrated catalogue of buildings, the book also provides their political, technological, social and cultural contexts. It functions equally well as a detailed and comprehensive narrative, as a collection of the great buildings of the world, and as an archive of themes across time and place.
A novel interpretation of architecture, ugliness, and the social consequences of aesthetic judgment When buildings are deemed ugly, what are the consequences? In Ugliness and Judgment, Timothy Hyde considers the role of aesthetic judgment-and its concern for ugliness-in architectural debates and their resulting social effects across three centuries of British architectural history. From eighteenth-century ideas about Stonehenge to Prince Charles's opinions about the National Gallery, Hyde uncovers a new story of aesthetic judgment, where arguments about architectural ugliness do not pertain solely to buildings or assessments of style, but intrude into other spheres of civil society. Hyde explores how accidental and willful conditions of ugliness-including the gothic revival Houses of Parliament, the brutalist concrete of the South Bank, and the historicist novelty of Number One Poultry-have been debated in parliamentary committees, courtrooms, and public inquiries. He recounts how architects such as Christopher Wren, John Soane, James Stirling, and Ludwig Mies van der Rohe have been summoned by tribunals of aesthetic judgment. With his novel scrutiny of lawsuits for libel, changing paradigms of nuisance law, and conventions of monarchical privilege, he shows how aesthetic judgments have become entangled in wider assessments of art, science, religion, political economy, and the state. Moving beyond superficialities of taste in order to see how architectural improprieties enable architecture to participate in social transformations, Ugliness and Judgment sheds new light on the role of aesthetic measurement in our world.
This well-argued, analytic text provides a greater understanding of spatial issues in the field of architecture. Re-interpreting the fifteenth century demonstration of perspective, Lorens Holm puts it in relation to todaya (TM)s theories of subjectivity and elaborates for the first time the theoretical link between architecture and psychoanalysis.
Divided into three sections, Brunelleschi, Lacan, Le Corbusier argues that perspective remains the primary and most satisfying way of representing form, because it is the paradigmatic form of spatial consciousness. Well-illustrated with over 100 images, this compelling book is a valuable study of this key aspect of architectural study and practice, making it an essential read for architects in their first year or their fiftieth.
After two decades of experimentation with the digital, the prevalent paradigm of formal continuity is being revised and questioned by an emerging generation of architects and theorists. While the world struggles with a global housing crisis and the impact of accelerated automation on labour, digital designers' narrow focus on mere style and continuous differentiation seems increasingly out of touch. This issue charts an emerging body of work that is based on a computational understanding of the discrete part or building block - elements that are as scalable, accessible and versatile as digital data. The discrete proposes that a new, digital understanding of assembly, based on parts, contains the greatest promise for a complex, open-ended, adaptable architecture. This approach capitalises on the digital economy and automation, with the potential of the digital to democratise production and increase access. The digital not only has deep implications for how we design and produce architecture; it is first and foremost a new system of production with economic, social and political consequences that need to be taken into account. This issue presents a diverse body of work focused on the notion of the discrete: from design experiments and aesthetics, to urban models, tectonics, distributed robots, new material organisations and post-capitalist scenarios engaging with automation. Contributors: Viola Ago, Mario Carpo, Emmanuelle Chiappone-Piriou, Mollie Claypool, Manuel Jimenez Garcia, Daniel Koehler and Rasa Navasaityte, Immanuel Koh, Neil Leach, Ryan Manning, Philippe Morel, M Casey Rehm, Jose Sanchez, Marrikka Trotter, Manja van de Worp, Maria Yablonina and Lei Zheng. Featured Architects: Kengo Kuma, Lab-eds, Plethora Project, MadM, EZCT, Eragatory and Studio Kinch.
Addressing the collection, representation and exhibition of architecture and the built environment, this book explores current practices, historical precedents, theoretical issues and future possibilities arising from the meeting of a curatorial a ~subjecta (TM) and an architectural a ~objecta (TM).
Striking a balance between theoretical investigations and case studies, the chapters cover a broad methodological as well as thematic range. Examining the influential role of architectural exhibitions, the contributors also look at curatorship as an emerging attitude towards the investigation and interpretation of the city. International in scope, this collection investigates curation, architecture and the city across the world, opening up new possibilities for exploring the urban fabric.
The focal main objective of the book is to constitute a meaningful linkage among research problems, geoinformation methods and corresponding applications. The research goals, related both to theoretical and practical issues, derive from multidisciplinary fields such as archaeology, history, geography, landscape planning, environment, geoinformation science, geology and geomorphology. All the aforementioned scientific areas have the spatial dimension in common, i.e. the vast amount of spatially referenced data. Their research issues can be addressed and analysed with geoinformation technology; though, the researchers should get familiar to the range of available geoinformation methods. The book provides description of a variety of research problems issues and technological ?solutions?approaches that can be used to support processes of data capturing, mapping and analysis. These techniques and concepts are illustrated on numerous practical examples. along with specific examples, where these have been applied. The current structure of the book includes the following four chapters: introduction, data capturing and mapping, analysis and modelling, and study cases. In the following we provide a more detailed content of each chapter listing the main topics included within the selected articles.
How do we think about architecture historically and theoretically? Forty Ways to Think about Architecture provides an introduction to some of the wide-ranging ways in which architectural history and theory are being approached today. The inspiration for this project is the work of Adrian Forty, Professor of Architectural History at the Bartlett School of Architecture, University College London (UCL), who has been internationally renowned as the UK s leading academic in the discipline for 40 years. Forty s many publications, notably Objects of Desire (1986), Words and Buildings (2000) and Concrete and Culture (2012), have been crucial to opening up new approaches to architectural history and theory and have helped to establish entirely new areas of study. His teaching at The Bartlett has enthused a new generation about the exciting possibilities of architectural history and theory as a field. This collection takes in a total of 40 essays covering key subjects, ranging from memory and heritage to everyday life, building materials and city spaces. As well as critical theory, philosophy, literature and experimental design, it refers to more immediate and topical issues in the built environment, such as globalisation, localism, regeneration and ecologies. Concise and engaging entries reflect on architecture from a range of perspectives. Contributors include eminent historians and theorists from elsewhere such as Jean-Louis Cohen, Briony Fer, Hilde Heynen, Mary McLeod, Griselda Pollock, Penny Sparke and Anthony Vidler as well as Forty s colleagues from the Bartlett School of Architecture including Iain Borden, Murray Fraser, Peter Hall, Barbara Penner, Jane Rendell and Andrew Saint. Forty Ways to Think about Architecture also features contributions from distinguished architects, such as Tony Fretton, Jeremy Till and Sarah Wigglesworth, and well-known critics and architectural writers, such as Tom Dyckhoff, William Menking and Thomas Weaver. Many of the contributors are former students of Adrian Forty. Through these diverse essays, readers are encouraged to think about how architectural history and theory relates to their own research and design practices, thus using the work of Adrian Forty as a catalyst for fresh and innovative thinking about architecture as a subject.
Advancing a new relationship between architecture and nature, "Territory" emphasises the simultaneous production of architectural objects and the environment surrounding them. Conceptualised within a framework that draws from physical and human geographical thought, this title of Architectural Design examines the possibility of an architecture that actively produces its external, ecological conditions. The architecture here scans and modifies atmospheres, arboreal zones, geothermal exchange, magnetic fields, habitats and toxicities - enabling new and intense geographical patterns, effects and sensations within architectural and urban experience. "Territory" charts out a space, a territory, for architecture beyond conceptualisations of context or environment, understood as that stable setting which pre-exists the production of new things. Ultimately, it suggests a role for architecture as a strategy of environmental tinkering versus one of accommodation or balance with an external natural world.
The Architecture of Change is a collection of articles that demonstrates the power of the human spirit to transform the environments in which we live. This inspiring book profiles people who refused to accept that things couldn't change, who saw the possibility of making something better and didn't hesitate to act. Breaking down the stereotypes surrounding ""socially engaged architecture,"" this book shows who can actually impact the lives of communities. Like Bernard Rudofsky's seminal Architecture Without Architects: A Short Introduction to Non-Pedigreed Architecture, it explores communal architecture produced not by specialists but by people, drawing on their common lives and experiences, who have a unique insight into their particular needs and environments. Running through their stories is a constant theme of social justice as an underlying principle of the built environment. This book is about opening one's eyes to new ways of interpreting the world, and how to go about changing it.
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