Theory of Architecture Books
An Atlas of Another America is a work of speculative architectural fiction and theoretical analysis of the American single-family house and its native habitat, the suburban metropolis. Mass-marketed and endlessly multiplied, and the definitive symbol of success in America and around the world, the suburban house has also become a global economic calamity and an impending environmental catastrophe. Yet, as both object and idea, it remains largely unexamined from an architectural perspective. This new book fills this gap through projects and essays that reflect upon, critique, and reformulate the equation that binds the house as an object to the American dream as a concept. Adopting tone and format of an historical architectural treatise, it builds upon an eminent lineage of architectural research from Piranesi and Ledoux to Branzi and Koolhaas in which imaginary but not implausible worlds are constructed through drawing in order to reframe reality and reorient the discipline towards new territories of action.
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Architectural bookmaking has been exposed to disciplinary debates, just as building construction has been exposed to the charms of book culture. Dissecting a wealth of books through five conceptual tools, Andre Tavares analyzes the material qualities of books in order to assess their crossovers with architectural knowledge.
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In contrast to tabula rasa urbanism, this book considers strategies for tabula plena-urban sites that are full of existing buildings of multiple time periods. Such dense sites prompt designers to work between the fields of architecture, historic preservation, and urban planning, developing methods for collaborative authorship and interlocking architectural forms. The book grew from a collaboration between the Oslo School of Architecture and Design and Columbia University's Graduate School of Architecture, Planning and Preservation on the planning of the government quarter in Oslo. Emerging from this process, the book asks larger questions about how we practice, teach, and theorise engagement with existing architecture on an urban scale. It contains a compilation of short essays addressing theoretical questions, a sampling of design projects offering different formal strategies for architectural design, and a series of discussions about pedagogical strategies.
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This book is a collection of essays at the intersection of architecture and climate change. Neither a collective lament nor an inventory of architectural responses, the essays consider cultural values ascribed to climate and ask how climate reflects our conception of what architecture is and does. Which materials and conceptual infrastructures render climate legible, knowable, and actionable, and what are their spatial implications? How do these interrelated questions offer new vantage points on the architectural ramifications of climate change at the interface of resiliency, sustain- ability, and ecotechnology? Climates also contains a dossier of precedents for thinking about architecture and climate change drawn from a number of leading practitioners. New approaches to understanding climate in architecture make this book invaluable.This publication is a project by The Avery Review, a journal produced by the Office of Publications at Columbia University's Graduate School of Architecture, Planning and Preservation.
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From the skyline of Dubai to the idea of 'quality', the impact of broadband cabling in West Africa to the street plan beneath your feet Extrastatecraft is the operating system of the modern world. What can we do about it? Infrastructure is not only the underground pipes and cables controlling our cities. It also determines the hidden rules that structure the spaces all around us - free trade zones, smart cities, suburbs, and shopping malls. Extrastatecraft charts the emergent new powers controlling this space and shows how they extend beyond the reach of government. How can we find our place in their new world order, and what can we do to combat it?
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Rhythm in Architecture is the first ever translation into English of a key early Modernist text, written by the celebrated Soviet Constructivist architect Moisei Ginzburg and first published in Russian as Ritm v Arkhitekture in 1923. Ginzburg is most famous for his Narkomfin Building in Moscow, completed in 1932, which he described as a "social condenser": a radical experiment in communal living. While Ginzburg's second book Style and Epoch, published in 1924, is often seen as the manifesto for Russian Constructivism, Rhythm in Architecture-which preceded it-can be seen as his attempt to create a synthesis in thinking about architecture as a whole, seeking to show how "the true essence of all works of architecture" are "inspired by the laws of rhythm". Rhythm in Architecture is republished in cooperation with the Ginzburg Design Practice run by Moisei Ginzburg's grandson, Aleksey and his partner Natalia Shilova. It is the first of a planned series of reprints of Ginzburg's four books, home, 1934 and Industrialising Housing Construction, 1937 as well as Style and Epoch, 1924-the only one previously available in English.
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Every intellectual endeavor relies upon an existing body of knowledge, proven and primed for reuse. Historically, this appropriation has been regulated through quotation. Academics trade epigraphs and footnotes while designers refer to precedents and manifestos. These citations -- written or spoken, drawn or built -- rely on their antecedent, and carry the stamp of authority. In the field of architecture, appropriation is faster, easier, and more conspicuous than ever, but also less regulated. These displacements are no longer self-referential games. Instead, buildings are copied before construction is completed. Digital scripts are downloaded, altered, and re-uploaded -- transposing the algorithm, not the object itself. Design bloggers "curate" texts and images -- copying and pasting, copying and pasting. In the sea of memes and GIFs, tweets and retweets, quotes are both innumerable and viral, giving voice to anyone with access to these channels. Traditionally, the practice of quotation has inoculated the author against accusations of plagiarism. Today, the quicksilver nature of contemporary communications obscures chains of reference. Must we jettison conventions of authorship or will we establish new codes of citation? This issue of Perspecta -- the oldest and most distinguished student-edited architectural journal in America -- explores the uneasy lines between quotation, appropriation, and plagiarism, proposing a constructive reevaluation of contemporary means of architectural production and reproduction. Although architecture is a discipline that prizes originality and easily ascribed authorship, it is important to recognize that quotation and associated operations are ubiquitous, intentional, and vital, not just palliatives to the anxiety of influence. These are perhaps the most potent tools of cultural production, yet also the most contested. Perspecta 49 welcomes the contest.
In May 1939, the celebrated American architect Frank Lloyd Wright visited London and gave four lectures at the Royal Institute of British Architects. The meetings were hailed at the time as the most remarkable events of recent architectural affairs in England, and the lectures were published as 'An Organic Architecture' in September 1939 by Lund Humphries. The texts remain an important expression of the architect's core philosophy and are being reissued now in a new edition to commemorate the 150th anniversary in 2017 of Frank Lloyd Wright's birth. In the lectures, Frank Lloyd Wright covers a wide range of topics including his Usonian houses, his visions for the future of cities both in North America and elsewhere, particularly in Britain, Taliesin and the Johnson Waxworks factory, the then-imminent Second World War, and the 'Future'. In doing so, his charismatic, flamboyant character leaps to life from the pages, not to mention his hugely creative intelligence, making these essays very enjoyable and entertaining.This new edition includes an insightful new essay by esteemed architectural historian, Professor Andrew Saint, which sets the lectures within context and highlights their continued resonance and appeal.
In Auditions, Rob Stone proposes a new and transformative view of architecture and sound. He offers a radical rethinking of the inhabitation of architectural space in terms of its acoustic dimensions, presenting a concept of aurality as an active, speculative, yet conditional understanding of the complexity of social spaces. The aural architectures he discusses are assembled from elements of architecture and music -- including works by Ludwig Mies van der Rohe and John Cage -- but also from imagined spaces and other kinds of less obviously musical sounds. Stone presents a series of aural-architecture moments, each of which brings architectural space into conversational relationships with extra-architectural concepts and perceptions, often suggested by other art forms and social practices. He considers, for example, the acoustic themes of a silent movie; Greg Louganis's failed dive at the Seoul Olympics and the moral values attached to water in architecture; the custodianship of high culture at a second-hand classical record shop in London; and hair (as in the conductor's hairstyle) as a mediating form between music and architectural space. In Auditions, Stone brings together and revises the canonical instances of sound's relationships with architectural spaces, and he does so by granting new kinds of spatial agency to sound. Sound is not only a portal into otherwise imperceptible aspects of architecture but also a reflection on the concepts that produce our expectations of architecture.
Directly confronting the nature of contemporary architectural work, this book is the first to address a void at the heart of architectural discourse and thinking. For too long, architects have avoided questioning how the central aspects of architectural "practice" (professionalism, profit, technology, design, craft, and building) combine to characterize the work performed in the architectural office. Nor has there been a deeper evaluation of the unspoken and historically-determined myths that assign cultural, symbolic, and economic value to architectural labor. The Architect as Worker presents a range of essays exploring the issues central to architectural labor. These include questions about the nature of design work; immaterial and creative labor and how it gets categorized, spatialized, and monetized within architecture; the connection between parametrics and BIM and labor; theories of architectural work; architectural design as a cultural and economic condition; entrepreneurialism; and the possibility of ethical and rewarding architectural practice. The book is a call-to-arms, and its ultimate goal is to change the practice of architecture. It will strike a chord with architects, who will recognize the struggle of their profession; with students trying to understand the connections between work, value, and creative pleasure; and with academics and cultural theorists seeking to understand what grounds the discipline.
The world is filling with ever more kinds of media, in ever more contexts and formats. Glowing rectangles have become part of the scene; screens, large and small, appear everywhere. Physical locations are increasingly tagged and digitally augmented. Amid this flood, your attention practices matter more than ever. You might not be able to tune this world out. So it is worth remembering that underneath all these augmentations and data flows, fixed forms persist, and that to notice them can improve other sensibilities. In Ambient Commons, Malcolm McCullough explores the workings of attention through a rediscovery of surroundings. McCullough describes what he calls the Ambient: an increasing tendency to perceive information superabundance whole, where individual signals matter less and at least some mediation assumes inhabitable form. He explores how the fixed forms of architecture and the city play a cognitive role in the flow of ambient information. As a persistently inhabited world, can the Ambient be understood as a shared cultural resource, to be socially curated, voluntarily limited, and self-governed as if a commons? Ambient Commons invites you to look past current obsessions with smart phones to rethink attention itself, to care for more situated, often inescapable forms of information.
Why would an architect reach for a pencil when drawing software and AutoCAD are a click away? Use a ruler when 3D-scanners and GPS devices are close at hand? In Why Architects Still Draw, Paolo Belardi offers an elegant and ardent defense of drawing by hand as a way of thinking. Belardi is no Luddite; he doesn't urge architects to give up digital devices for watercolors and a measuring tape. Rather, he makes a case for drawing as the interface between the idea and the work itself. A drawing, Belardi argues, holds within it the entire final design. It is the paradox of the acorn: a project emerges from a drawing -- even from a sketch, rough and inchoate -- just as an oak tree emerges from an acorn. Citing examples not just from architecture but also from literature, chemistry, music, archaeology, and art, Belardi shows how drawing is not a passive recording but a moment of invention pregnant with creative possibilities. Moving from the sketch to the survey, Belardi explores the meaning of measurement in a digital era. A survey of a site should go beyond width, height, and depth; it must include two more dimensions: history and culture. Belardi shows the sterility of techniques that value metric exactitude over cultural appropriateness, arguing for an "informed drawing" that takes into consideration more than meters or feet, stone or steel. Even in the age of electronic media, Belardi writes, drawing can maintain its role as a cornerstone of architecture.
Five Ways to Make Architecture Political presents an innovative pragmatist agenda that will inspire new thinking about the politics of design and architectural practice. Moving beyond conventional conversations about design and politics, the book shows how recent developments in political philosophy can transform our understanding of the role of designers. Introducing the framework of contemporary post-foundational politics in a way that is accessible to designers, it asks: how, when, and under what circumstances can design practice generate political relations? How can architectural design become more 'political'? Five central chapters, which can be read alone or in sequence, explore the answers to these questions. Powerfully pragmatic in approach, each presents one of the 'five ways to make architecture political', and each is illustrated by case studies from a range of contemporary situations around the world. We see how politics happens in architectural practice, learn how different design technologies have political effects, and follow how architects reach different publics, trigger reactions and affect different communities worldwide. Combining an accessible introduction to contemporary political concepts with a practical approach for a more political kind of practice, this book will stimulate debate among students and theorists alike, and inspire action in established and start-up practices.
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Seemingly immobile and durable, architecture remains a challenge in the modern world of collecting and exhibiting. From the late eighteenth century onward, divergent conventions of display have been conflated with urgent discussions of how material culture is handed down, distributed, appropriated, and evaluated. Place and Displacement: Exhibiting Architecture investigates historical and con temporary practices of displaying architecture, whether in full scale or as fragments, models, or two-dimensional representations. Exploring questions of circulation and temporality, issues of institution and canon, and the discourse and politics of architectural spaces on exhibit, the book's essays discuss the ambiguous status of architecture as an object of display. Contributions from leading scholars in the new research field of architectural exhibitions reveal the centrality of the exhibition in defining and redefining the notion of architecture and its history.
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Architecture depends -- on what? On people, time, politics, ethics, mess: the real world. Architecture, Jeremy Till argues with conviction in this engaging, sometimes pugnacious book, cannot help itself; it is dependent for its very existence on things outside itself. Despite the claims of autonomy, purity, and control that architects like to make about their practice, architecture is buffeted by uncertainty and contingency. Circumstances invariably intervene to upset the architect's best-laid plans -- at every stage in the process, from design through construction to occupancy. Architects, however, tend to deny this, fearing contingency and preferring to pursue perfection. With Architecture Depends, architect and critic Jeremy Till offers a proposal for rescuing architects from themselves: a way to bridge the gap between what architecture actually is and what architects want it to be. Mixing anecdote, design, social theory, and personal experience, Till's writing is always accessible, moving freely between high and low registers, much like his suggestions for architecture itself.
This innovative and unique book is a visual guide to the buildings that surround us, naming all the visible architectural features so that, unlike other architectural dictionaries, the reader doesn'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, before delving into the inner architectural details such as doors and windows, roofs and staircases. A comprehensive glossary completes the book. An original and accessible take on the architectural dictionary, this book takes you on a visual tour of the buildings around us, and will be useful not only to students but to anyone with a general interest in architecture.
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AGLXH 16 years +16 years +
Buildings are driven by human emotions and desires; hope, power, money, sex, the idea of home. In Why We Build Rowan Moore explores the making of buildings from conception to inhabitation and reveals the paradoxical power of architecture: it looks fixed and solid, but is always changing in response to the lives around it. Moving across the globe and through history, through works of folly, beauty, spectacle, and subtlety, Moore gives a provocative and iconoclastic view of what makes architecture, why it matters, and why we find it fascinating. You will never look at a building in the same way again.
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This ambitious book is aimed at a new generation of architects who take technology for granted but seek to understand the principles of what makes a building meaningful and enduring. Fifty buildings by the best-known and -recognized modern architects, from Aalto to Gehry, from Le Corbusier to Hadid, are represented in illustrations that explore all facets of the buildings creation. Starting from its site, each building is analysed through its surroundings, use of natural light, volumes and massing; its programme and circulation; its details, fenestration and ornamentation, taking the reader straight to the heart and mind of the architect. Targeted at rising students and architects who seek to create architecture that transcends digital tools and techniques, The Elements of Modern Architecture is an essential reference and inspiration for many generations to come.
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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.
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In the Autumn of 2007, Lebbeus Woods (1940-2012), long admired for his visionary architecture and mastery of drawing, began a blog. Part forum and part public journal, the eclectic mix of articles, drawings, anecdotes, poetry, interviews, and photographic essays explored topics ranging from architectural theory and criticism to education and politics. Amassing more than three hundred entries by its end in the summer of 2012, it is regarded by many as the most comprehensive and accessible archive of Woods's prodigious creativity. Slow Manifesto: Lebbeus Woods Blog , an edited volume of the blog's centerpiece entries, stands as a fragmentary essay on the nature of architecture that will be dear to architects, students, and thinkers everywhere.
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We don't just look at buildings: their facades, beautiful or ugly, conceal the spaces we inhabit. We are born, work, love and die in architecture. We buy and sell it, rent it and squat in it, create and destroy it. These aspects of buildings - economic, erotic, political and psychological - are crucial if we are to understand architecture properly. And because architecture moulds us just as much as we mould it, understanding architecture helps us to understand our lives and our world. Through ten great buildings across the world Tom Wilkinson reveals the powerful and intimate relationship between society and architecture and asks: can architecture change our lives for the better? THE TEN BUILDINGS: The Tower of Babel, Babylon (c. 650 BC), The Golden House, Rome (AD 64-68), Djinguereber Mosque, Timbuktu (1327), Palazzo Rucellai, Florence (1450), The Garden of Perfect Brightness, Beijing (1709-1860), Festival Theatre, Bayreuth, Germany (1876), Highland Park Car Factory, Detroit (1909-1910), E.1027, Cap Martin (1926-29), Finsbury Health Centre, London (1938), Footbridge, Rio de Janeiro, London (2010)
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The Architecture of Neoliberalism pursues an uncompromising critique of the neoliberal turn in contemporary architecture. This book reveals how a self-styled parametric and post-critical architecture serves mechanisms of control and compliance while promoting itself, at the same time, as progressive. Spencer's incisive analysis of the architecture and writings of figures such as Zaha Hadid, Patrik Schumacher, Rem Koolhaas, Greg Lynn and Alejandro Zaera-Polo shows them to be in thrall to the same notions of liberty as are propounded in neoliberal thought. Analysing architectural projects in the fields of education, consumption and labour, The Architecture of Neoliberalism examines the part played by contemporary architecture in refashioning human subjects into the compliant figures - student-entrepreneurs, citizen-consumers and team-workers - requisite to the universal implementation of a form of existence devoted to market imperatives.
Architecture remains in crisis, its social relevance lost between the two poles of formal innovation and technical sustainability. In Attunement, Alberto Perez-Gomez calls for an architecture that can enhance our human values and capacities, an architecture that is connected -- attuned -- to its location and its inhabitants. Architecture, Perez-Gomez explains, operates as a communicative setting for societies; its beauty and its meaning lie in its connection to human health and self-understanding. Our physical places are of utmost importance for our well-being. Drawing on recent work in embodied cognition, Perez-Gomez argues that the environment, including the built environment, matters not only as a material ecology but because it is nothing less than a constituent part of our consciousness. To be fully self-aware, we need an external environment replete with meanings and emotions. Perez-Gomez views architecture through the lens of mood and atmosphere, linking these ideas to the key German concept of Stimmung -- attunement -- and its roots in Pythagorean harmony and Vitruvian temperance or proportion. He considers the primacy of place over space; the linguistic aspect of architecture -- the voices of architecture and the voice of the architect; architecture as a multisensory (not pictorial) experience, with Piranesi, Ledoux, and Hejduk as examples of metaphorical modeling; and how Stimmung might be put to work today to realize the contemporary possibilities of attunement.
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