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Writing Architecture

"A history of the relationship between architecture and mathematics, with a special focus on the transition in the postwar period between analogue to digital design"--

An investigation of mathematics as it was drawn, encoded, imagined, and interpreted by architects on the eve of digitization in the mid-twentieth century. In Formulations, Andrew Witt examines the visual, methodological, and cultural intersections between architecture and mathematics. The linkages Witt explores involve not the mystic transcendence of numbers invoked throughout architectural history, but rather architecture’s encounters with a range of calculational systems—techniques that architects inventively retooled for design. Witt offers a catalog of mid-twentieth-century practices of mathematical drawing and calculation in design that preceded and anticipated digitization as well as an account of the formal compendia that became a cultural currency shared between modern mathematicians and modern architects. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Witt presents a series of extensively illustrated “biographies of method”—episodes that chart the myriad ways in which mathematics, particularly the mathematical notion of modeling and drawing, was spliced into the creative practice of design. These include early drawing machines that mechanized curvature; the incorporation of geometric maquettes—“theorems made flesh”—into the toolbox of design; the virtualization of buildings and landscapes through surveyed triangulation and photogrammetry; formal and functional topology; stereoscopic drawing; the economic implications of cubic matrices; and a strange synthesis of the technological, mineral, and biological: crystallographic design.&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Trained in both architecture and mathematics, Witt uses mathematics as a lens through which to understand the relationship between architecture and a much broader set of sciences and visual techniques. Through an intercultural exchange with other disciplines, he argues, architecture adapted not only the shapes and surfaces of mathematics but also its values and epistemic ideals. &nbsp;

Witt A: Formulations

Formulations

Architecture, Mathematics, Culture

1 Models, Machines, Manuals, and Cabinets 9&nbsp; 2 A Machine Epistemology: Encapsulated Knowledge and the Instrumentation of Architecture 31 3 Theorems Made Flesh: The Architectonics of Mathematical Maquettes 61 4 Alternate Dimensions: Measuring Space from Building to Hyperbody 101 5 A Virtuality Atlas: Stereoscopic Drawing and Geometric Dream Space 141 6 Illusion Engines: Drawing at the Speed of Light 181 7 Labyrinths, Topology, and Meinong's Jungle: Architecture's Impossible Objects 221 8 All You Need Is Cube: The Political Economy of Grid Space 273 9 Geometry's Mass Media: Broadcasting Technique in Architecture's Hyperbolic Era 307 10 Crystal Collectives: Architecture's Chemical Subcultures 343 11 Of Dabblers and Virtuosos 387 Notes 395 Acknowledgments 419 Index 421

"Led by the hugely influential figure Peter Eisenman, four of the field's most renow700ned living architects "rewrite" Alberti, bringing his prescient insight forward to the 21st century"--

A fresh, groundbreaking analysis of renowned Renaissance architect Leon Battista Alberti’s five built works, suggesting a new relationship of form to meaning. Much has been written about Renaissance architect Leon Battista Alberti’s mantra of part-to-whole as one of the continuing conditions of architecture. While this underlying thesis has oft been repeated in the annals of architectural history and theory, architects have rarely questioned the idea. In Rewriting Alberti, architect Peter Eisenman suggests, however, that Alberti provoked a radical discourse beyond the part-to-whole dialogue featured in his Ten Books. Eisenman’s in-depth analysis of Alberti’s five built works reveals a disjunction between the architect’s buildings and theoretical writings, suggesting a new relationship of form to meaning based on the fragmentation of homogeneous space. Rewriting Alberti includes contributions by Pier Vittorio Aureli, Mario Carpo, and Daniel Sherer. Carpo, an architectural historian and critic, theorizes that Alberti’s work initiated an idea of the discipline as a notational system akin to contemporary computational logics. By way of comparison, Sherer, an architectural historian, reconsiders critic Manfredo Tafuri’s readings of Alberti, and architect and theorist Aureli draws on Alberti to propose another idea of the architectural “project.” Here, in one book are four different discourses (and more than 60 drawings) which look back at the origins of architectural signs and semiology and forward to understand the way that history informs architecture today.

Rewriting Alberti

"A collection of essays that speculates both about what architecture makes of theory as well as what theory makes of architecture"--

A collection of illuminating essays exploring what theory makes of architecture and what architecture makes of theory in philosophical and materialized contexts. From poststructuralism and deconstruction to current theories of technology and nature, critical theory has long been closely aligned with architecture. In turn, architecture as a thinking profession materializes theory in the form of built work that always carries symbolic loads. In this collection of essays, Catherine Ingraham studies the complex connectivity between architecture's discipline and practice and theories of philosophy, art, literature, history, and politics. She argues that there can be no architecture without theory. Whether considering architecture’s relationship to biomodernity or exploring the ways in which contemporary artists and designers engage in figural play, Ingraham offers provocative interpretations that enhance our understanding of both critical theory and architectural practice today. Along the way, she engages with a wide range of contemporary theorists, including Giorgio Agamben, Judith Butler, Jacques Derrida, Graham Harman, and Timothy Morton, considering buildings around the world, including the Palace of Culture in Warsaw, the Viceroy’s House complex in New Delhi, Mack Scogin and Merrill Elam's Wolfsburg Science Center project in Germany, and the Superdome in New Orleans. Approaching its subject matter from multiple angles, Architecture’s Theory shows how architecture's theoretical and artifactual practices have a unique power to alter culture.

Architecture’s Theory

Engaging essays that roam across uncertain territory, in search of sunken forests, unclassifiable islands, inflammable skies, plagiarized tabernacles, and other phenomena missing from architectural history.This collection by "architectural history's most beguiling essayist” (as Reinhold Martin calls the author in the book's foreword) illuminates the unfamiliar, the arcane, the obscure—phenomena largely missing from architectural and landscape history. These essays by Edward Eigen do not walk in a straight line, but roam across uncertain territory, discovering sunken forests, unclassifiable islands, inflammable skies, unvisited shores, plagiarized tabernacles. Taken together, these texts offer a group portrait of how certain things fall apart.We read about the statistical investigation of lightning strikes in France by the author-astronomer Camille Flammarion, which leads Eigen to reflect also on Foucault, Hamlet, and the role of the anecdote in architectural history. We learn about, among other things, Olmsted's role in transforming landscape gardening into landscape architecture; the connections among hedging, hedge funds, the High Line, and GPS bandwidth; timber-frame roofs and (spider) web-based learning; the archives of the Houses of Parliament through flood and fire; and what the 1898 disappearance and reappearance of the Trenton, New Jersey architect William W. Slack might tell us about the conflict between "the migratory impulse” and "love of home.” Eigen compares his essays to the "gathering up of seeds that fell by the wayside.” The seedlings that result create in the reader's imagination a dazzling display of the particular, the contingent, the incidental, and the singular, all in search of a narrative.

Engaging essays that roam across uncertain territory, in search of sunken forests, unclassifiable islands, inflammable skies, plagiarized tabernacles, and other phenomena missing from architectural history.This collection by “architectural history's most beguiling essayist” (as Reinhold Martin calls the author in the book's foreword) illuminates the unfamiliar, the arcane, the obscure—phenomena largely missing from architectural and landscape history. These essays by Edward Eigen do not walk in a straight line, but roam across uncertain territory, discovering sunken forests, unclassifiable islands, inflammable skies, unvisited shores, plagiarized tabernacles. Taken together, these texts offer a group portrait of how certain things fall apart.We read about the statistical investigation of lightning strikes in France by the author-astronomer Camille Flammarion, which leads Eigen to reflect also on Foucault, Hamlet, and the role of the anecdote in architectural history. We learn about, among other things, Olmsted's role in transforming landscape gardening into landscape architecture; the connections among hedging, hedge funds, the High Line, and GPS bandwidth; timber-frame roofs and (spider) web-based learning; the archives of the Houses of Parliament through flood and fire; and what the 1898 disappearance and reappearance of the Trenton, New Jersey architect William W. Slack might tell us about the conflict between “the migratory impulse” and “love of home.” Eigen compares his essays to the “gathering up of seeds that fell by the wayside.” The seedlings that result create in the reader's imagination a dazzling display of the particular, the contingent, the incidental, and the singular, all in search of a narrative.

Episodes in Architecture and Landscape

On Accident

From Noah's Ark to Diller + Scofidio's "Blur” Building, a distinguished art historian maps new ways to think about architecture's origin and development.Trained as an art historian but viewing architecture from the perspective of a "displaced philosopher,” Hubert Damisch in these essays offers a meticulous parsing of language and structure to "think architecture in a different key,” as Anthony Vidler puts it in his introduction. Drawn to architecture because it provides "an open series of structural models,” Damisch examines the origin of architecture and then its structural development from the nineteenth through the twenty-first centuries. He leads the reader from Jean-François Blondel to Eugène Viollet-le-Duc to Mies van der Rohe to Diller + Scofidio, with stops along the way at the Temple of Jerusalem, Vitruvius's De Architectura, and the Louvre. In the title essay, Damisch moves easily from Diderot's Encylopédie to Noah's Ark (discussing the provisioning, access, floor plan) to the Pan American Building to Le Corbusier to Ground Zero. Noah's Ark marks the origin of construction, and thus of architecture itself. Diderot's Encylopédie entry on architecture followed his entry on Noah's Ark; architecture could only find its way after the Flood.In these thirteen essays, written over a span of forty years, Damisch takes on other histories and theories of architecture to trace a unique trajectory of architectural structure and thought. The essays are, as Vidler says, "a set of exercises” in thinking about architecture.

From Noah's Ark to Diller + Scofidio's “Blur” Building, a distinguished art historian maps new ways to think about architecture's origin and development.Trained as an art historian but viewing architecture from the perspective of a “displaced philosopher,” Hubert Damisch in these essays offers a meticulous parsing of language and structure to “think architecture in a different key,” as Anthony Vidler puts it in his introduction. Drawn to architecture because it provides “an open series of structural models,” Damisch examines the origin of architecture and then its structural development from the nineteenth through the twenty-first centuries. He leads the reader from Jean-François Blondel to Eugène Viollet-le-Duc to Mies van der Rohe to Diller + Scofidio, with stops along the way at the Temple of Jerusalem, Vitruvius's De Architectura, and the Louvre. In the title essay, Damisch moves easily from Diderot's Encylopédie to Noah's Ark (discussing the provisioning, access, floor plan) to the Pan American Building to Le Corbusier to Ground Zero. Noah's Ark marks the origin of construction, and thus of architecture itself. Diderot's Encylopédie entry on architecture followed his entry on Noah's Ark; architecture could only find its way after the Flood.In these thirteen essays, written over a span of forty years, Damisch takes on other histories and theories of architecture to trace a unique trajectory of architectural structure and thought. The essays are, as Vidler says, “a set of exercises” in thinking about architecture.

Essays on Architecture

Noah's Ark

Essays on contemporary architecture that are less about making critical judgments than about explication, exegesis, and provocation.Jeffrey Kipnis's writing, thinking, and teaching casts architecture as both an intellectual discourse and a lived, affective experience. His essays on contemporary architects are less about making critical judgments than about explication, exegesis, and provocation. In these eleven essays, written between 1990 and 2008, he considers projects, concepts, and buildings by some of the most recognized architects working today, with special attention to the productions of affect. He explores "intuition” in the work of Morphosis, "exhilaration” in Coop Himmelb(l)au, "freedom” in the work of Rem Koolhaas and OMA, "magic” in Steven Holl's buildings, and "anxiety” in Rafael Moneo's writing about contemporary architecture. Kipnis's deft integration of art, critical theory, philosophy, pop culture, classical music, and science—what the volume's editor Alexander Maymind calls "ancillary material”—into a rigorous architectural theory and criticism makes A Question of Qualities an exemplar of a new way to write about architecture. It is also a distinct pleasure to read. Kipnis transcends the fractious intellectual climate in architecture, stepping outside the boundaries mandated by the vast specialized criteria that the discipline now claims to address. The essays in this volume demonstrate a style of writing that is not so much about architecture as it is an affect of architecture itself.

Essays on contemporary architecture that are less about making critical judgments than about explication, exegesis, and provocation.Jeffrey Kipnis's writing, thinking, and teaching casts architecture as both an intellectual discourse and a lived, affective experience. His essays on contemporary architects are less about making critical judgments than about explication, exegesis, and provocation. In these eleven essays, written between 1990 and 2008, he considers projects, concepts, and buildings by some of the most recognized architects working today, with special attention to the productions of affect. He explores “intuition” in the work of Morphosis, “exhilaration” in Coop Himmelb(l)au, “freedom” in the work of Rem Koolhaas and OMA, “magic” in Steven Holl's buildings, and “anxiety” in Rafael Moneo's writing about contemporary architecture. Kipnis's deft integration of art, critical theory, philosophy, pop culture, classical music, and science—what the volume's editor Alexander Maymind calls “ancillary material”—into a rigorous architectural theory and criticism makes A Question of Qualities an exemplar of a new way to write about architecture. It is also a distinct pleasure to read. Kipnis transcends the fractious intellectual climate in architecture, stepping outside the boundaries mandated by the vast specialized criteria that the discipline now claims to address. The essays in this volume demonstrate a style of writing that is not so much about architecture as it is an affect of architecture itself.

Essays in Architecture

A Question of Qualities

A Topology of Everyday Constellations

The threshold as both boundary and bridge: investigations of spaces, public and private, local and global.Today, spaces no longer represent a bourgeois haven; nor are they the sites of a classical harmony between work and leisure, private and public, the local and the global. The house is not merely a home but a position for negotiations with multiple spheres—the technological as well as the physical and the psychological. In A Topology of Everyday Constellations, Georges Teyssot considers the intrusion of the public sphere into private space, and the blurring of notions of interior, privacy, and intimacy in our societies. He proposes that we rethink design in terms of a new definition of the practices of everyday life. Teyssot considers the door, the window, the mirror, and the screen as thresholds or interstitial spaces that divide the world in two: the outside and the inside. Thresholds, he suggests, work both as markers of boundaries and as bridges to the exterior. The stark choice between boundary and bridge creates a middle space, an in-between that holds the possibility of exchanges and encounters. If the threshold no longer separates public from private, and if we can no longer think of the house as a bastion of privacy, Teyssot asks, does the body still inhabit the house—or does the house, evolving into a series of microdevices, inhabit the body?

The threshold as both boundary and bridge: investigations of spaces, public and private, local and global.Today, spaces no longer represent a bourgeois haven; nor are they the sites of a classical harmony between work and leisure, private and public, the local and the global. The house is not merely a home but a position for negotiations with multiple spheres—the technological as well as the physical and the psychological. In A Topology of Everyday Constellations, Georges Teyssot considers the intrusion of the public sphere into private space, and the blurring of notions of interior, privacy, and intimacy in our societies. He proposes that we rethink design in terms of a new definition of the practices of everyday life. Teyssot considers the door, the window, the mirror, and the screen as thresholds or interstitial spaces that divide the world in two: the outside and the inside. Thresholds, he suggests, work both as markers of boundaries and as bridges to the exterior. The stark choice between boundary and bridge creates a middle space, an in-between that holds the possibility of exchanges and encounters. If the threshold no longer separates public from private, and if we can no longer think of the house as a bastion of privacy, Teyssot asks, does the body still inhabit the house—or does the house, evolving into a series of microdevices, inhabit the body?

The rise and fall of identical copies: digital technologies and form-making from mass customization to mass collaboration.Digital technologies have changed architecture—the way it is taught, practiced, managed, and regulated. But if the digital has created a "paradigm shift” for architecture, which paradigm is shifting? In The Alphabet and the Algorithm, Mario Carpo points to one key practice of modernity: the making of identical copies. Carpo highlights two examples of identicality crucial to the shaping of architectural modernity: in the fifteenth century, Leon Battista Alberti's invention of architectural design, according to which a building is an identical copy of the architect's design; and, in the nineteenth and twentieth centuries, the mass production of identical copies from mechanical master models, matrixes, imprints, or molds. The modern power of the identical, Carpo argues, came to an end with the rise of digital technologies. Everything digital is variable. In architecture, this means the end of notational limitations, of mechanical standardization, and of the Albertian, authorial way of building by design. Charting the rise and fall of the paradigm of identicality, Carpo compares new forms of postindustrial digital craftsmanship to hand-making and the cultures and technologies of variations that existed before the coming of machine-made, identical copies. Carpo reviews the unfolding of digitally based design and construction from the early 1990s to the present, and suggests a new agenda for architecture in an age of variable objects and of generic and participatory authorship.

The rise and fall of identical copies: digital technologies and form-making from mass customization to mass collaboration.Digital technologies have changed architecture—the way it is taught, practiced, managed, and regulated. But if the digital has created a “paradigm shift” for architecture, which paradigm is shifting? In The Alphabet and the Algorithm, Mario Carpo points to one key practice of modernity: the making of identical copies. Carpo highlights two examples of identicality crucial to the shaping of architectural modernity: in the fifteenth century, Leon Battista Alberti's invention of architectural design, according to which a building is an identical copy of the architect's design; and, in the nineteenth and twentieth centuries, the mass production of identical copies from mechanical master models, matrixes, imprints, or molds. The modern power of the identical, Carpo argues, came to an end with the rise of digital technologies. Everything digital is variable. In architecture, this means the end of notational limitations, of mechanical standardization, and of the Albertian, authorial way of building by design. Charting the rise and fall of the paradigm of identicality, Carpo compares new forms of postindustrial digital craftsmanship to hand-making and the cultures and technologies of variations that existed before the coming of machine-made, identical copies. Carpo reviews the unfolding of digitally based design and construction from the early 1990s to the present, and suggests a new agenda for architecture in an age of variable objects and of generic and participatory authorship.

The Alphabet and the Algorithm

Drawing for Architecture

Drawings, doodles, and ideograms argue with ferocity and wit for traditional urbanism and architecture.Architect Léon Krier's doodles, drawings, and ideograms make arguments in images, without the circumlocutions of prose. Drawn with wit and grace, these clever sketches do not try to please or flatter the architectural establishment. Rather, they make an impassioned argument against what Krier sees as the unquestioned doctrines and unacknowledged absurdities of contemporary architecture. Thus he shows us a building bearing a suspicious resemblance to Norman Foster's famous London "gherkin” as an example of "priapus hubris” (threatened by detumescence and "priapus nemesis”); he charts "Random Uniformity” ("fake simplicity”) and "Uniform Randomness” ("fake complexity”); he draws bloated "bulimic” and disproportionately scrawny "anorexic” columns flanking a graceful "classical” one; and he compares "private virtue” (modernist architects' homes and offices) to "public vice” (modernist architects' "creations”). Krier wants these witty images to be tools for re-founding traditional urbanism and architecture. He argues for mixed-use cities, of "architectural speech” rather than "architectural stutter,” and pointedly plots the man-vehicle-landneed ratio of "sub-urban man” versus that of a city dweller. In an age of energy crisis, he writes (and his drawings show), we "build in the wrong places, in the wrong patterns, materials, densities, and heights, and for the wrong number of dwellers”; a return to traditional architectures and building and settlement techniques can be the means of ecological reconstruction. Each of Krier's provocative and entertaining images is worth more than a thousand words of theoretical abstraction.

Drawings, doodles, and ideograms argue with ferocity and wit for traditional urbanism and architecture.Architect Léon Krier's doodles, drawings, and ideograms make arguments in images, without the circumlocutions of prose. Drawn with wit and grace, these clever sketches do not try to please or flatter the architectural establishment. Rather, they make an impassioned argument against what Krier sees as the unquestioned doctrines and unacknowledged absurdities of contemporary architecture. Thus he shows us a building bearing a suspicious resemblance to Norman Foster's famous London “gherkin” as an example of “priapus hubris” (threatened by detumescence and “priapus nemesis”); he charts “Random Uniformity” (“fake simplicity”) and “Uniform Randomness” (“fake complexity”); he draws bloated “bulimic” and disproportionately scrawny “anorexic” columns flanking a graceful “classical” one; and he compares “private virtue” (modernist architects' homes and offices) to “public vice” (modernist architects' “creations”). Krier wants these witty images to be tools for re-founding traditional urbanism and architecture. He argues for mixed-use cities, of “architectural speech” rather than “architectural stutter,” and pointedly plots the man-vehicle-landneed ratio of “sub-urban man” versus that of a city dweller. In an age of energy crisis, he writes (and his drawings show), we “build in the wrong places, in the wrong patterns, materials, densities, and heights, and for the wrong number of dwellers”; a return to traditional architectures and building and settlement techniques can be the means of ecological reconstruction. Each of Krier's provocative and entertaining images is worth more than a thousand words of theoretical abstraction.

An examination of architecture and art as a screen of vital cultural memory that considers museum culture, visual technology, and the border of public and private space.In this thoughtful collection of essays on the relationship of architecture and the arts, Giuliana Bruno addresses the crucial role that architecture plays in the production of art and the making of public intimacy. As art melts into spatial construction and architecture mobilizes artistic vision, Bruno argues, a new moving space—a screen of vital cultural memory—has come to shape our visual culture. Taking on the central topic of museum culture, Bruno leads the reader on a series of architectural promenades from modernity to our times. Through these "museum walks," she demonstrates how artistic collection has become a culture of recollection, and examines the public space of the pavilion as reinvented in the moving-image art installation of Turner Prize nominees Jane and Louise Wilson. Investigating the intersection of science and art, Bruno looks at our cultural obsession with techniques of imaging and its effect on the privacy of bodies and space. She finds in the work of artist Rebecca Horn a notable combination of the artistic and the scientific that creates an architecture of public intimacy. Considering the role of architecture in contemporary art that refashions our "lived space"—and the work of contemporary artists including Rachel Whiteread, Mona Hatoum, and Guillermo Kuitca—Bruno argues that architecture is used to define the frame of memory, the border of public and private space, and the permeability of exterior and interior space. Architecture, Bruno contends, is not merely a matter of space, but an art of time.

An examination of architecture and art as a screen of vital cultural memory that considers museum culture, visual technology, and the border of public and private space.In this thoughtful collection of essays on the relationship of architecture and the arts, Giuliana Bruno addresses the crucial role that architecture plays in the production of art and the making of public intimacy. As art melts into spatial construction and architecture mobilizes artistic vision, Bruno argues, a new moving space—a screen of vital cultural memory—has come to shape our visual culture. Taking on the central topic of museum culture, Bruno leads the reader on a series of architectural promenades from modernity to our times. Through these "museum walks," she demonstrates how artistic collection has become a culture of recollection, and examines the public space of the pavilion as reinvented in the moving-image art installation of Turner Prize nominees Jane and Louise Wilson. Investigating the intersection of science and art, Bruno looks at our cultural obsession with techniques of imaging and its effect on the privacy of bodies and space. She finds in the work of artist Rebecca Horn a notable combination of the artistic and the scientific that creates an architecture of public intimacy. Considering the role of architecture in contemporary art that refashions our "lived space"—and the work of contemporary artists including Rachel Whiteread, Mona Hatoum, and Guillermo Kuitca—Bruno argues that architecture is used to define the frame of memory, the border of public and private space, and the permeability of exterior and interior space. Architecture, Bruno contends, is not merely a matter of space, but an art of time.

Architecture and the Visual Arts

Public Intimacy

Urban Studies

Der Wohnungsbau der späten Moderne kann als Blaupause für eine zukunftsfähige Stadtentwicklung dienen. Die Beiträger*innen arbeiten die vielschichtigen Werte der Großwohnsiedlungen als baukulturelles Erbe heraus und stellen Akteure und Kontexte vor, die ihre Transformationsgeschichte geprägt haben. Aus interdisziplinärer Perspektive vergleichen sie die Historie und Qualitäten in West- sowie Ostdeutschland und schärfen den Blick für eine bewahrende Weiterentwicklung der Siedlungen - was nicht zuletzt Barrieren in Denken und Handeln überwindet und durch konkrete Möglichkeiten für eine integrierte, werteorientierte Zukunftsgestaltung von Siedlungsbeständen neue Türen für die Stadtplanung öffnet.

Der Wohnungsbau der späten Moderne kann als Blaupause für eine zukunftsfähige Stadtentwicklung dienen. Die Beiträger*innen arbeiten die vielschichtigen Werte der Großwohnsiedlungen als baukulturelles Erbe heraus und stellen Akteure und Kontexte vor, die ihre Transformationsgeschichte geprägt haben. Aus interdisziplinärer Perspektive vergleichen sie die Historie und Qualitäten in West- sowie Ostdeutschland und schärfen den Blick für eine bewahrende Weiterentwicklung der Siedlungen – was nicht zuletzt Barrieren in Denken und Handeln überwindet und durch konkrete Möglichkeiten für eine integrierte, werteorientierte Zukunftsgestaltung von Siedlungsbeständen neue Türen für die Stadtplanung öffnet.

Werte, Ideen und Strukturen von Siedlungen der 1960er bis 1980er Jahre

Wohnquartiere der Moderne im Wandel

A Grass Roots Designer’s Guide to Working Abroad

Design Beyond Borders

Sustainability using Architecture, Engineering, Lighting Design, Landscape Architecture, and Greenhouse Gas Reduction in Public Buildings

Greening by Design

This fully updated edition of The Portfolio shows you how to prepare, compile, and present the most crucial element of your architectural career. The book features more than 200 color images of outstanding portfolios from around the world, a new design, a new appendix covering the basics of graphic design, and an expanded digital portfolio section, in addition to updating all the important information about academic and professional portfolios, to help you put your best work forward.

This fully updated edition of The Portfolio shows you how to prepare, compile, and present the most crucial element of your architectural career. The book features more than 200 color images of outstanding portfolios from around the world, a new design, a new appendix covering the basics of graphic design, and an expanded digital portfolio section, in addition to updating all the important information about academic and professional portfolios, to help you put your best work forward.

A Guide for Architects and Designers

The Portfolio

Designer Experience

Spatial Design with Children

Most of us need to find a job after finishing architecture school. Get Practiced is a guide for getting the first five years of your career underway. Whether a student or a recent graduate, you have the skills and training you need. Why settle for the first job you can get? Through practical exercises and first hand accounts, Get Practiced provides you the information you need to create your own professional-development plan, as well as ensure that you can execute it. Although it's impossible to predict exactly how your career will turn out, it's entirely possible to shape and craft it. This book explains how to become a productive and successful professional even before you have graduated. For those interested in making a change from your current job or gaining a specialty, Get Practiced offers interviews, case studies, and examples that illustrate the importance of focusing your professional objectives, building networks, and how to generate tangible evidence that effectively transmits your abilities. You will use your skills as a learned to become a producer. Exercises include- Make a list of your benchmarks- Apply to one non-job related post- Interview a mentor- Write your own studio brief- Conduct a 48-hour charrette project with some friendsGet Practiced sections examine all scales of formative design production:- The US-based firm with four partners from Columbia, Egypt, Canada, and the US who are conducting curatorial projects in Boston, large-scale urban design projects in the Middle East, and building houses in Guatemala- The German/American industrial design partnership in London, who recently completed an artist-in-residence at the the Victoria and Albert Museum- The Portuguese architect and writer who is now the curator of Contemporay Architecture at the Museum of Modern Art- The Connecticut architect and businessman who moved from New York City to head Bruce Mau Design in Toronto- The two American grad students who started building a hospital in Rwanda while in their second year of school

Most of us need to find a job after finishing architecture school. Get Practiced is a guide for getting the first five years of your career underway. Whether a student or a recent graduate, you have the skills and training you need. Why settle for the first job you can get? Through practical exercises and first hand accounts, Get Practiced provides you the information you need to create your own professional-development plan, as well as ensure that you can execute it. Although it’s impossible to predict exactly how your career will turn out, it’s entirely possible to shape and craft it. This book explains how to become a productive and successful professional even before you have graduated. For those interested in making a change from your current job or gaining a specialty, Get Practiced offers interviews, case studies, and examples that illustrate the importance of focusing your professional objectives, building networks, and how to generate tangible evidence that effectively transmits your abilities. You will use your skills as a learned to become a producer. Exercises include - Make a list of your benchmarks - Apply to one non-job related post - Interview a mentor - Write your own studio brief - Conduct a 48-hour charrette project with some friendsGet Practiced sections examine all scales of formative design production: - The US-based firm with four partners from Columbia, Egypt, Canada, and the US who are conducting curatorial projects in Boston, large-scale urban design projects in the Middle East, and building houses in Guatemala - The German/American industrial design partnership in London, who recently completed an artist-in-residence at the the Victoria and Albert Museum - The Portuguese architect and writer who is now the curator of Contemporay Architecture at the Museum of Modern Art - The Connecticut architect and businessman who moved from New York City to head Bruce Mau Design in Toronto - The two American grad students who started building a hospital in Rwanda while in their second year of school

Turn Your Architectural Education into a Career

Get Practiced

Since the last edition of this book in 2021, unprecedented change has occurred in the construction sector, including an overhaul of the Building Regulations and the creation of a new Building Safety Regulator. This book is the essential legal reference work for all architects and students of architecture.

The Law for Architects

Architect's Legal Handbook

Then And Now

Ottawa Then and Now

This book discusses and illustrates the aesthetics, use and shaping of structural materials in the design and construction of a sustainable built environment.

This book discusses and illustrates the aesthetics, use and shaping of structural materials in the design and construction of a sustainable built environment.

Imagining Delight, Form and Performance

Structural Materials for Sustainable Architecture

Written specifically for architectural design practitioners in their education or at the early stages of their professional career, this book provides a unique conceptual framework founded on three processes- Discover, Explore, Deliver - and five methods- Intuition, Calculation, Measurement, Testing, Simulation - to support sustainable design in practice.

Written specifically for architectural design practitioners in their education or at the early stages of their professional career, this book provides a unique conceptual framework founded on three processes– Discover, Explore, Deliver – and five methods– Intuition, Calculation, Measurement, Testing, Simulation - to support sustainable design in practice.

Processes, Methods and Tools

Sustainable Design in Practice

Formulations

Inhalt

Bibliografische Angaben

Inhaltsverzeichnis

Schlagworte

Inhalt

Bibliografische Angaben

Inhaltsverzeichnis

Schlagworte

Weitere Titel der Reihe: Writing Architecture

Weitere Titel zum Thema