"Manhattan," he writes, "is the 20th century's Rosetta Stone . . . occupied by architectural mutations (Central Park, the Skyscraper), utopian fragments (Rockefeller Center, the U.N. Building), and irrational phenomena (Radio City Music Hall)." Koolhaas interprets and reinterprets the dynamic relationship between architecture and culture in a number of telling episodes of New York's history, including the imposition of the Manhattan grid, the creation of Coney Island, and the development of the skyscraper. Delirious New York is also packed with intriguing and fun facts and illustrated with witty watercolors and quirky archival drawings, photographs, postcards, and maps. The spirit of this visionary investigation of Manhattan equals the energy of the city itself.
Renowned architecture critic Ada Louise Huxtable?s biography Frank Lloyd Wright looks at the architect and the man, from his tumultuous personal life to his long career as a master builder. Along the way she introduces Wright?s masterpieces? from the tranquil Fallingwater to Taliesin, rebuilt after tragedy and murder?not only exploring the mind of the man who drew the blueprints but also delving into the very heart of the medium, which he changed forever.
Examining the work of architectural firms such as OMA, Reiser + Umemoto, and Foreign Office, as well as the art of Matthew Barney, Ai Weiwei, Sherrie Levine, and many others, After Art provides a compelling and original theory of art and architecture in the age of global networks.
Reviews from the publisher
Coup d’etat is the definitive book on the Kennedy assassination! It should be required reading in every American high school.
—Marvin Forrest, Ph.D.,
Psychotherapist, Santa Barbara
Dr. Kroth cuts to the heart of the matter laying out a hard to dispute argument for what actually happened that distant half century ago when everything changed for all of us. At a time when apologists have seemed to dominate the trend in regarding Kennedy assassination publishing, it is important to swing the pendulum back toward the rational conclusion that something was deliberately taken from us, the course of our future was compromised, and it was those we most trusted, not a crazed outlier, who engineered it all. This is a very important book and a must read for those of us who care.
—Steve Stelle, author of On shaky ground.
Coup d'etat, is a must-read for those of us who were of voting age during those turbulent times at the end of Camelot and who recall the strange goings on of the Warren Commission Hearings. There were so many loose ends that have never been woven into a concise and believable explanation until now.
—David Hall, author of The Rose
Gehry’s subjects range from his childhood—when he first built cities with wooden blocks on the floor of his grandmother’s kitchen—to his relationships with clients and his definition of a “great” client. We learn about his architectural influences (including Le Corbusier and Frank Lloyd Wright) and what he has learned from Michelangelo, Rembrandt, and Rauschenberg.
We explore the thinking behind his designs for the Guggenheim Bilbao and the Walt Disney Concert Hall, the redevelopment of Atlantic Yards in Brooklyn and Grand Avenue in Los Angeles, the Gehry Collection at Tiffany’s, and ongoing projects in Toronto, Paris, Abu Dhabi, and elsewhere. And we follow as Gehry illuminates the creative process by which his ideas first take shape—for example, through early drawings for the Guggenheim Museum in Bilbao, when the building’s trademark undulating curves were mere scribbles on a page. Sketches, models, and computer images provided by Gehry himself allow us to see how so many of his landmark buildings have come to fruition, step by step.
Conversations with Frank Gehry is essential reading for everyone interested in the art and craft of architecture, and for everyone fascinated by the most iconic buildings of our time, as well as the man and the mind behind them.
From the Hardcover edition.
Assessing ordinary commercial structures as well as head-turning designs by some of the world’s leading architects, Kamin paints a sweeping but finely textured portrait of a tumultuous age torn between the conflicting mandates of architectural spectacle and sustainability. For Kamin, the story of our built environment over the past ten years is, in tangible ways, the story of the decade itself. Terror and Wonder considers how architecture has been central to the main events and crosscurrents in American life since 2001: the devastating and debilitating consequences of 9/11 and Hurricane Katrina; the real estate boom and bust; the use of over-the-top cultural designs as engines of civic renewal; new challenges in saving old buildings; the unlikely rise of energy-saving, green architecture; and growing concern over our nation’s crumbling infrastructure.
A prominent cast of players—including Santiago Calatrava, Frank Gehry, Helmut Jahn, Daniel Libeskind, Barack Obama, Renzo Piano, and Donald Trump—fills the pages of this eye-opening look at the astounding and extraordinary ways that architecture mirrors our values—and shapes our everyday lives.
“A crucial and dazzling book, masterful, and for me at least, intoxicating.”—Dave Eggers
“A genuinely engaging book, perhaps because [Vanderbilt] is skillful at conveying his own sense of engagement to the reader.”—Los Angeles Times
“A retracing of Dr. Strangelove as ordinary life.”—Greil Marcus, Bookforum
What should replace the fallen towers? Who had the courage and vision to rise to the task of rebuilding? Who had the right, finally, to decide? The struggle began soon after September 11, 2001, as titanic egos took sides, made demands, and jockeyed for power. Lawyers, developers, grieving families, local residents, politicians, artists, and architects all had fierce needs, radically different ideas, strong emotions, and boundless determination. How could conflicting interests be resolved? After hundreds of hours of often rancorous meetings, the first sets of plans were finally revealed in the summer of 2002–and the results were staggeringly disappointing.
Yet, as Goldberger shows, the rebuilding process recovered and began to flourish. Rather than degenerating into turf wars, it evolved in ways that no one could have predicted. From the decision to reintegrate the site into the dense fabric of lower Manhattan, to the choice of Daniel Libeskind as master planner, to the appointment of a memorial jury, the process has been marked by moments of bold vision, effective community activism, and personal instinct, punctuating the often contentious politics of public participation.
Up from Zero takes in the full sweep of this tremendous effort. Goldberger presents a drama of creative minds at work, solving seemingly insurmountable clashes of taste, interests, and ideas. With unique access to the players and the process, and with a sophisticated understanding of architecture and its impact on people and on the social and cultural life of a city, Paul Goldberger here chronicles the courage, the sacrifices, and the burning passions at the heart of one of the greatest efforts of urban revitalization in modern times.
From the connected farmhouses of New England to I.M. Pei's Media Lab, from "satisficing" to "form follows funding," from the evolution of bungalows to the invention of Santa Fe Style, from Low Road military surplus buildings to a High Road English classic like Chatsworth—this is a far-ranging survey of unexplored essential territory.
More than any other human artifacts, buildings improve with time—if they're allowed to. How Buildings Learn shows how to work with time rather than against it.
Vol. 1 Brooklyn, A Year of Favorites, Jason Diamond
Book Riot, 2014’s Must-Read Books from Indie Presses
"Valeria Luiselli is a writer of formidable talent, destined to be an important voice in Latin American letters. Her vision and language are precise, and the power of her intellect is in evidence on every page."—Daniel Alarcón
"I'm completely captivated by the beauty of the paragraphs, the elegance of the prose, the joy in the written word, and the literary sense of this author."—Enrique Vilas-Matas
Valeria Luiselli is an evening cyclist; a literary tourist in Venice, searching for Joseph Brodsky's tomb; an excavator of her own artifacts, unpacking from a move. In essays that are as companionable as they are ambitious, she uses the city to exercise a roving, meandering intelligence, seeking out the questions embedded in our human landscapes.
Valeria Luiselli was born in Mexico City in 1983 and grew up in South Africa. Her novel and essays have been translated into many languages and her work has appeared in publications including the New York Times, Granta, and McSweeney's. Some of her recent projects include a ballet performed by the New York City Ballet in Lincoln Center; a pedestrian sound installation for the Serpentine Gallery in London; and a novella in installments for workers in a juice factory in Mexico. She lives in New York City.
memory, and thought is the way we join fractured experiences to construct a
narrative. Confabulations: Storytelling in Architecture weaves together poetic ideas,
objects, and events and returns you to everyday experiences of life through juxtapositions
with dreams, fantasies, and hypotheticals. It follows the intellectual and creative
framework of architectural cosmopoesis developed and practiced by the distinguished
thinker, architect, and professor Dr. Marco Frascari, who thought deeply about the
role of storytelling in architecture.
Bringing together a collection of 24 essays from a diverse and respected group of
scholars, this book presents the convergence of architecture and storytelling across a
broad temporal, geographic, and cultural range. Beginning with an introduction framing
the topic, the book is organized along a continuous thread structured around four
key areas: architecture of stories, stories of architecture, stories of theory and practice
of stories. Beautifully illustrated throughout and including a 64-page full colour section,
Confabulationsis an insightful investigation into architectural narratives.
Bracketed between texts on giraffe morphology, ecological perception, ugliness, and hopeful monsters, architectural case studies investigate historical moments when relationships between architecture and site were productively intertwined, from the anomalous city designs of Francesco de Marchi in the sixteenth century to Le Corbusier’s near eradication of context in his Plan Voisin in the twentieth century to the more recent contextualist movements. Extensively illustrated with 140 drawings and photographs, Niche Tactics considers how attention to site might create a generative language for architecture today.
Environmental discussions in architecture tend to focus on the practical or the poetic but here they are considered together. Rather than investigate architecture’s relations to the weather in isolation, they are integrated into a wider discussion of cultural and social influences on architecture. The analysis of weather’s effects on the design and experience of specific buildings and gardens is interwoven with a historical survey of changing attitudes to the weather in the arts, sciences and society, leading to a critical re-evaluation of contemporary responses to climate change.
Dimendberg provides an extensive overview of these concerns and the history of the studio, revealing how principals Elizabeth Diller, Ricardo Scofidio, and Charles Renfro continue to expand the definition of architecture, question the nature of space and vision in contemporary culture, and produce work that is endlessly surprising and rewarding, from New York’s High Line to Blur, an artificial cloud, and Facsimile, a video screen that moves around a building facade. Dimendberg also explores the relation of work by DS+R to that by earlier modernists such as Marcel Duchamp and John Hejduk. He reveals how the fascination of the architects with evolving forms of media, technology, and building materials has produced works that unsettle distinctions among architecture and other media. Based on interviews with the architects, their clients, and collaborators as well as unprecedented access to unpublished documents, sketchbook entries, and archival records, Diller Scofidio + Renfro is the most thorough consideration of DS+R in any language. Illustrated with many previously unpublished renderings in addition to photos from significant contemporary photographers, this book is an essential study of one of the most significant and creative architecture and design studios working today.
Then he discovers he likes it.
DEATH WISH, Starring Charles Bronson, Architect is based on the sensationalistic and controversial Death Wish movies, in which Charles Bronson portrays an architect who becomes a vigilante-killer. DEATH WISH by Rob Kovitz is a kind of enigmatic appropriation allegory, in which Bronson is Everyman, and Architecture is the dream/nightmare that goes to bed with each of us at night.
Treyf 25th Anniversary edition.
The Funambulist Pamphlets is published as part of the Documents Initiative imprint of the Center for Transformative Media, Parsons The New School for Design, a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings.
Having J.G. Ballard and Philip K. Dick as the two protagonists of the papers collected in Vol. 09_Science Fiction constitutes an indirect way to reflect on architecture as a technology. Juxtaposing these two authors creates a dialogue that may be as relevant as the most theoretical work dedicated to this subject.
Vol. 09_Science Fiction includes: Introduction: When James Graham Ballard meets Philip K. Dick, What do They Talk About? — Science Fiction as an Inventor of Dilemmas: From Utopia to Apocalypse by Peter Paik — 2037 by Raja Shehadeh — Collision, Sexuality and Resistance — Ballardian Landscapes: Desacralizing Thaumaturgic Modernity — The Fouled Beauty of James Graham Ballard — Letter to James Graham Ballard (April 14th 2009) — Psychotropic Houses by James Graham Ballard — The Brutal Art of Enki Bilal — The Work of Philip K. Dick: Between Paranoia and Schizophrenia — Funambulist Paper #03: Transcendent Delusion or; The Dangerous Free Spaces of Phillip K. Dick (by Martin Byrne) — Untitled Narrative #002 (Feral Garage) (by Martin Byrne) — Labyrinths and Other Metaphysical Constructions: Interview with Marc-Antoine Mathieu — Overpopulated Cities / The Concentration City, Billennium, L’Origine & Soylent Green — Fahrenheit 451 (excerpts by Ray Bradbury) — Never Let Me Go by Mark Romanek — The Declamatory Porcelain Architectures of Serge Brussolo
Concrete, marble, steel, brick: little else made by human hands seems as stable, as immutable, as a building. Yet the life of any structure is neither fixed nor timeless. Outliving their original contexts and purposes, buildings are forced to adapt to each succeeding age. To survive, they must become shape-shifters.
In an inspired refashioning of architectural history, Edward Hollis recounts more than a dozen stories of such metamorphosis, highlighting the way in which even the most familiar structures all change over time into "something rich and strange." The Parthenon, that epitome of a ruined temple, was for centuries a working church and then a mosque; the cathedral of Notre Dame was "restored" to a design that none of its original makers would have recognized. Remains of the Berlin Wall, meanwhile, which was once gleefully smashed and bulldozed, are now treated as precious relics.
With The Secret Lives of Buildings, Edward Hollis recounts the most enthralling of these metamorphoses and shows how buildings have come to embody the history of Western culture.
We spend most of our days and nights in buildings, living and working and sometimes playing. Buildings often overawe us with their beauty. Architecture is both setting for our everyday lives and public art form—but it remains mysterious to most of us.
In How Architecture Works, Witold Rybczynski, one of our best, most stylish critics and winner of the Vincent Scully Prize for his architectural writing, answers our most fundamental questions about how good—and not-so-good—buildings are designed and constructed. Introducing the reader to the rich and varied world of modern architecture, he takes us behind the scenes, revealing how architects as different as Frank Gehry, Renzo Piano, and Robert A. M. Stern envision and create their designs. He teaches us how to "read" plans, how buildings respond to their settings, and how the smallest detail—of a stair balustrade, for instance—can convey an architect's vision. Ranging widely from a war memorial in London to an opera house in St. Petersburg, from the National Museum of African American History and Culture in Washington, D.C., to a famous architect's private retreat in downtown Princeton, How Architecture Works, explains the central elements that make up good building design. It is an enlightening humanist's toolkit for thinking about the built environment and seeing it afresh.
"Architecture, if it is any good, speaks to all of us," Rybczynski writes. This revelatory book is his grand tour of architecture today.
Deyan Sudjic-"probably the most influential figure in architecture you've never heard of" - argues that architecture, far from being auteur art, must be understood as a naked expression of power. From the grandiose projects of Stalin and Hitler to the "theme park" excess of today's presidential libraries, Sudjic goes behind the scenes of history's great manipulators of building propaganda-and exposes Rem Koolhaas, Frank Gehry, and other architects in a disturbing new light. This controversial book is essential reading for all those interested in the power of architecture-or the architecture of power.
* A Washington Post Book World Best Book of the Year
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.
These critical – and often practice-led – investigations are placed alongside a range of historical studies considering the development of representational techniques such as perspective, orthography and diagramming. By also addressing the use of visual representation in a number of related disciplines such as visual arts, film, performance and literature, the book opens up debates in architecture to important developments in other fields.
This book is key reading for all students of architecture and architectural theory.
Cities participate in the production of meaning by providing places populated with objects for words to refer to. Inscriptions on these objects (labels, billboards, newspapers, graffiti) provide another layer of meaning. And today, the flow of digital information -- from one device to another in the urban scene -- creates a digital network that also exists in physical space. Placing Words examines this emerging system of spaces, flows, and practices in a series of short essays -- snapshots of the city in the twenty-first century.
Mitchell questions the necessity of flashy downtown office towers in an age of corporate Web sites. He casts the shocked-and-awed Baghdad as a contemporary Guernica. He describes architectural makeovers throughout history, listing Le Corbusier's Fab Five Points of difference between new and old architecture, and he discusses the architecture of Manolo Blahniks. He pens an open letter to the Secretary of Defense recommending architectural features to include in torture chambers. He compares Baudelaire, the Parisian flaneur, to Spiderman, the Manhattan traceur. He describes the iPod-like galleries of the renovated MoMA and he recognizes the camera phone as the latest step in a process of image mobilization that began when artists stopped painting on walls and began making pictures on small pieces of wood, canvas, or paper. The endless flow of information, he makes clear, is not only more pervasive and efficient than ever, it is also generating new cultural complexities.
From the Trade Paperback edition.
Providing a primer on sustainability, useful to teachers and students alike, the selected essays address a broad range of issues. Combined with design projects that highlight issues holistically, they promote an understanding of the principles of sustainability and further the integration of sustainable methods into architectural projects.
Using essays that alternately revise and clarify twentieth century architectural thinking, The Green Braid places sustainability at the centre of excellent architectural design. No other volume addresses sustainability within the context of architectural history, theory, pedagogy and design, making this book an ideal source for architects in framing their practices, and therefore their architectural production, in a sustainable manner.
Associating the changing natural world with journeys in self-understanding, and the design process with a visual and spatial autobiography, this book describes journeys between London and the North Sea in successive centuries, analysing an enduring and evolving tradition from the picturesque and romanticism to modernism. Creative architects have often looked to the past to understand the present and imagine the future. Twenty-first-century architects need to appreciate the shock of the old as well as the shock of the new.
— John McCabe, Stickleback
“What’s the plan?”
— youtube.com, Battlestar Actors Lay Out the Plan
Canadian author-artist Rob Kovitz is the creator of Treyf Books, inventive montage book projects that juxtapose texts and images collected from widely varied sources. Centered around a certain theme, he then recombines these findings to form new works of imagination that are at once multivalent and surprisingly cohesive. Kovitz’s latest super-cut bookwork, According to Plan, begins with his interest in the word “plan,” and every text selection includes the word “plan.” The result is a funny, disquieting, and thought-provoking exploration of the human obsession with making plans.
In his writing, Mitchell makes connections that aren't necessarily obvious but are always illuminating, moving in one essay from Bush-Cheney's abuse of language to Robert Venturi's argument against rigid ideology and in favor of graceful pragmatism. He traces the evolution of Las Vegas from Sin/Sign City to family-friendly resort and residential real estate boomtown. A purchase of chips leads not only to a complementary purchase of beer but to thoughts of Eames chairs (like Pringles) and Gehry (fun to imitate with tortilla chips in refried beans). As for who the world's greatest architect might be, here's a hint: he's also the oldest.
This book collects 54 pieces and six film scripts that dissolve the barriers between high and low culture, good and bad taste, deep seriousness and black comedy. Meades delivers what he calls 'heavy entertainment' – strong opinions backed up by an astonishing depth of knowledge. To read Meades on places, buildings, politics, or cultural history is an exhilarating workout for the mind. He leaves you better informed, more alert, less gullible.
- Honoré Daumier, Le Charivari, 27 September 1836
Jean Baudrillard once suggested an important correction to classical Marxism: exchange value is not, as Marx had it, a distortion of a commodity’s underlying use value; use value, instead, is a fiction created by exchange value.
- n+1 Magazine, Death by Degrees
He had ferreted so much, collected so many clues, that he could have prophesied how the new neighbourhoods would look in 1870. Sometimes, in the street, he would look curiously at certain houses, as if they were acquaintances whose destiny, known to him alone, deeply affected him.
- Émile Zola, The Kill
Our new Gilded Age looks a lot like the 19th century version, as seen and annotated in Rob Kovitz’s Capital of the World, with words and images collected and remixed from Émile Zola, Honoré Daumier, Lewis Lapham, Baron Haussmann, Sam Lipsyte, n+1 Magazine, and various others.
‘You’ll see,’ murmured Monsieur Hupel de la Noue, ‘that I have perhaps carried poetic licence too far, but I think my boldness has worked. Echo, seeing that Venus has no power over Narcissus, takes him to Plutus, the god of wealth and precious metals. After the temptation of the flesh, the temptation of riches.’
‘That’s very classical,’ replied Monsieur Toutin-Laroche, with an amiable smile. ‘You know your period, Monsieur le Préfet.’
- Émile Zola, The Kill
In Wright Studies Volume Two: Fallingwater and Pittsburgh, contributors Kathryn Smith, Neil Levine, and Richard Cleary concentrate on two themes: Smith focuses on Wright's interest in the imagery of water in architecture while Levine and Cleary look at Wright's relationship with Edgar Kaufmann, the department store magnate, and analyze the results?aesthetic and otherwise?of that relationship. All three deal with Fallingwater, built for Kaufmann in the 1930s, and other projects planned for Pittsburgh, which included a planetarium, a civic center, a parking garage, and an apartment house.
Smith discusses how Wright refined his integration of bodies of water into his designs over the course of his career, the most successful of which is Fallingwater. Levine provides historical background on Fallingwater and analyzes the architectural elements of the design while emphasizing Fallingwater's temporal dimension. Cleary covers Wright's Pittsburgh projects and Edgar Kaufmann Sr.'s role in them.
Wright Studies Volume Two is richly illustrated, with seventy-three halftones and twenty-three line drawings.
Doctoral Education in Architecture: Challenges and Opportunities deals with a topic on which there is currently little literature available. While there are a considerable number of publications on doctoral education in general and in country-specific contexts, field-specific publications are rare.
This book contains data obtained from a pilot study set up by the editors on “The Nature and Structure of Doctoral Studies in Architecture”, as well as excerpts from a workshop based on this study, held at Istanbul Technical University Faculty of Architecture. It includes excerpts from the discussion sessions and contributions on contexts, conditions, and problems in architectural schools in several European countries.
This volume provides an overview and insight for future challenges for doctoral education in the field of architecture.
Contributors include: Gülsün Sağlamer; Fatma Erkök; Gary Moore; Kemal Gürüz; Hans Beunderman; Murray Fraser; Stefan Simion; Katalin Marótzy; Vilma Hastaoglou-Martinidis; Georgios Papakostas; Constantin Spyridonidis; Olivier Masson; Jean Stillemans; Pelin Dursun; and Philip Ursprung.
This first full biography of Erickson, who died in 2009 at the age of eighty-four, traces the architect's life from its modest origins to his emergence on the world stage. Author David Stouck, acclaimed for his earlier biographies of Ethel Wilson and Sinclair Ross, demonstrates here once again why his work has been praised as imaginative, incisive and compelling. Grounded in interviews with Erickson and his family, friends and clients, as well as the resources of extensive public archives, TITLE is both an intimate portrait of the man and a stirring account of how Erickson made his buildings work. Beautifully written and superbly researched, it is also a provocative look at the phenomenon of cultural heroes and the nature of what we call "genius."
Contributions from leading scholars writing in the field today – including Frederic J. Schwartz, Magdalena Droste, and Alina Payne – offer an entirely new treatment of the Bauhaus. Issues such as art and design pedagogy, the practice of photography, copyright law, and critical theory are discussed. Through a strong thematic structure, new archival research and innovative methodologies, the questions and subsequent conclusions presented here re-examine the history of the Bauhaus and its continuing legacy. Essential reading for anyone studying the Bauhaus, modern art and design.
With new essays by Pier Vittorio Aureli, Ellen Dunham-Jones, Keller Easterling, Lauren Kogod, Robert Hewison, Joanna Merwood-Salisbury, Robin Schuldenfrei, Deborah Gans, Simon Sadler, Nathan Rich, and Micahel Sorkin.
The book features a variety of diagrams and talking points to encourage students and practitioners to think about key issues such as understanding spatial relationships and the use of sustainable materials.
This second edition includes new case studies focusing on well-known international interior design studios, such as Conran and Partners, UK, Slade Architecture, US, Gensler, US and award winning architects Chae-Pereira in South Korea.
The introduction of interviews with contemporary interior designers allows readers an insight in to the working world of interior design.
The new projects allow students to explore what they have learned in each chapter through experimentation and these activities encourage creativity and further learning.
Differing radically in their views on architecture, Wright and Johnson shared a restless creativity, enormous charisma, and an outspokenness that made each man irresistible to the media. Often publicly at odds, they were the twentieth century's flint and steel; their repeated encounters consistently set off sparks. Yet as acclaimed historian Hugh Howard shows, their rivalry was also a fruitful artistic conversation, one that yielded new directions for both men. It was not despite but rather because of their contentious--and not always admiring--relationship that they were able so powerfully to influence history.
In Architecture's Odd Couple, Howard deftly traces the historical threads connecting the two men and offers readers a distinct perspective on the era they so enlivened with their designs. Featuring many of the structures that defined modern space--from Fallingwater to the Guggenheim, from the Glass House to the Seagram Building--this book presents an arresting portrait of modern architecture's odd couple and how they shaped the American landscape by shaping each other.
Highlighting both the challenges and the opportunities for this type of development, The Option of Urbanism shows how the American Dream is shifting to include cities as well as suburbs and how the financial and real estate communities need to respond to build communities that are more environmentally, socially, and financially sustainable.
An explanation of the nature of design cognition begins this work, with a look at how design knowledge is formulated, developed, structured and utilized, and how this utilization triggers style and creativity. The author goes on to review historical studies of style, considering a series of psychological experiments relating to the operational definition, degree, measurement, and creation of style. The work conceptually summarizes the recognition of individual style in products, as well as the creation of such styles as a process before reviewing studies on creativity from various disciplines, presenting case studies and reviewing works by master architects.
Readers will discover how creativity is initiated by design cognition. A summary of the correlations between creativity and style, expressed as a conceptual formula describing the cognitive phenomenon of style and creativity concludes the work. The ideas presented here are applicable to all design fields, allowing designers to comprehend and improve their design processes to produce creative, stylistically unique products.
Kissing Architecture is the first book in a cutting-edge new series of short, focused arguments written by leading critics, historians, theorists, and practitioners from the world of urban development and contemporary architecture and design. These books are intended to spark vigorous debate. They stake out the positions that will help shape the architecture and urbanism of tomorrow. Addressing one of the most spectacular and significant developments in the current cultural scene, Kissing Architecture is an entertainingly irreverent and disarmingly incisive book that offers an entirely new way of seeing--and experiencing--architecture in the age after representation.
What does it say about the value of architecture that as the world faces economic and ecological crises, unprecedented numbers of architects are out of work? This is the question that confronted architect Eric Cesal as he finished graduate school at the onset of the worst financial meltdown in a generation. Down Detour Road is his journey: one that begins off-course, and ends in a hopeful new vision of architecture. Like many architects of his generation, Cesal confronts a cold reality. Architects may assure each other of their own importance, but society has come to view architecture as a luxury it can do without. For Cesal, this recognition becomes an occasion to rethink architecture and its value from the very core. He argues that the times demand a new architecture, an empowered architecture that is useful and relevant. New architectural values emerge as our cultural values shift: from high risks to safe bets, from strong portfolios to strong communities, and from clean lines to clean energy.This is not a book about how to run a firm or a profession; it doesn't predict the future of architectural form or aesthetics. It is a personal story -- and in many ways a generational one: a story that follows its author on a winding detour across the country, around the profession, and into a new architectural reality.