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The Hidden Rules of Architecture: how to build world-class, award winning, creative, innovative, sustainable, liveable and beautiful spaces that foster a sense of place and well being Leading architect Reinier de Graaf De Graaf punctures the myths behind the debates on what contemporary architecture is, with wit and devastating honesty. Architecture, it seems, has become too important to leave to architects. No longer does it suffice to judge a building solely by its appearance, it must be measured, and certified. When architects talk about “Excellence,” “Sustainability,” “Well-being,” “Liveability,” “Placemaking,” “Creativity,” “Beauty” and “Innovation” what do they actually mean? In architect, verb. De Graff dryly skewers the doublespeak and hot air of an industry in search of an identity in the 21st century. Who determines how to measure a “green building”? Why is Vancouver more “liveable” than Vienna? How do developers get away with advertising their buildings as promoting “well-being”? Why did Silicon Valley become so obsessed with devising “creative” spaces or developing code that replaces architects? How much revenue can be attributed to the design of public space? Who gets to decide what these measurements should be, and what do they actually mean? And what does it mean for the future of our homes, cities, planet? He also includes a biting, satirical dictionary of “profspeak”: the corporate language of consultants, developers and planners from “Active listening” to “Zoom Readiness.”
Architecture is a Verb outlines an approach that shifts the fundamental premises of architectural design and practice in several important ways. First, it acknowledges the centrality of the human organism as an active participant interdependent in its environment. Second, it understands human action in terms of radical embodiment—grounding the range of human activities traditionally attributed to mind and cognition: imagining, thinking, remembering—in the body. Third, it asks what a building does—that is, extends the performative functional interpretation of design to interrogate how buildings move and in turn move us, how they shape thought and action. Finally, it is committed to articulating concrete situations by developing a taxonomy of human/building interactions. Written in engaging prose for students of architecture, interiors and urban design, as well as practicing professionals, Sarah Robinson offers richly illustrated practical examples for a new generation of designers.
The basics of the profession and practice of architecture, presented in illustrated A-Z form. The word "architect" is a noun, but Doug Patt uses it as a verb—coining a term and making a point about using parts of speech and parts of buildings in new ways. Changing the function of a word, or a room, can produce surprise and meaning. In How to Architect, Patt—an architect and the creator of a series of wildly popular online videos about architecture—presents the basics of architecture in A-Z form, starting with "A is for Asymmetry" (as seen in Chartres Cathedral and Frank Gehry), detouring through "N is for Narrative," and ending with "Z is for Zeal" (a quality that successful architects tend to have, even in fiction—see The Fountainhead's architect-hero Howard Roark.) How to Architect is a book to guide you on the road to architecture. If you are just starting on that journey or thinking about becoming an architect, it is a place to begin. If you are already an architect and want to remind yourself of what drew you to the profession, it is a book of affirmation. And if you are just curious about what goes into the design and construction of buildings, this book tells you how architects think. Patt introduces each entry with a hand-drawn letter, and accompanies the text with illustrations that illuminate the concept discussed: a fallen Humpty Dumpty illustrates the perils of fragile egos; photographs of an X-Acto knife and other hand tools remind us of architecture's nondigital origins. How to Architect offers encouragement to aspiring architects but also mounts a defense of architecture as a profession—by calling out a defiant verb: architect!
The shift from modern to digital systems of design and production opens up a material work to a deeper relationship between author and perceiver. From the classical work to the modern object and from the modern industrial to 'computerised' procedures, the interplay between author and user has become closer, more direct and open. How does this increasing complicity affect architectural practice? How can architecture be conceived as a more fluid informational development? Publishing architectures is much more than displaying a recently finished product in which the architect is the unique author. To make architecture is a real undertaking of numerous authors based on the processing of information before, during and after the materialization of the building. The contemporary relationship between information and authorship in architectural practice, featuring works and texts by Manuel de Landa, Jorge Wagensberg, FOA Architects, Sadar & Vuga, njiric & njiric, Love, Lacaton & Vassal.
A Financial Times Best Book of the Year A Guardian Best Architecture Book of the Year “Sharp, revealing, funny.” —The Guardian “An original and even occasionally hilarious book about losing ideals and finding them again... [De Graaf] deftly shows that architecture cannot be better or more pure than the flawed humans who make it.” —The Economist Architecture, we like to believe, is an elevated art form that shapes the world as it pleases. Four Walls and a Roof turns this fiction on its head, offering a candid account of what it’s really like to work as an architect. Drawing on his own tragicomic experiences in the field, Reinier de Graaf reveals the world of contemporary architecture in vivid snapshots: from the corridors of wealth in London, Moscow, and Dubai to the demolished hopes of postwar social housing in New York and St. Louis. We meet ambitious oligarchs, developers for whom architecture is nothing more than an investment, and layers of bureaucrats, consultants, and mysterious hangers-on who lie between any architect’s idea and the chance of its execution. “This is a book about power, money and influence, and architecture’s complete lack of any of them... Witty, insightful and funny, it is a (sometimes painful) dissection of a profession that thinks it is still in control.” —Financial Times “This is the most stimulating book on architecture and its practice that I have read for years.” —Architects’ Journal
The core idea for this book is the use of operative verbs as tools for designing space. These operative verbs abstract the idea of spatial formation to its most basic terms, allowing for an objective approach to create the foundation for subjective spatial design. Examples of these verbs are expand, inflate, nest, wist, lift, embed, merge and many more. Together they form a visual dictionary decoding the syntax of spatial verbs. The verbs are illustrated with three-dimensional diagrams and pictures of designs which show the verbs 'in action'. This approach was devised, tested, and applied to architectural studio instruction by Anthony Di Mari and Nora Yoo while teaching at Harvard University's Career Discovery Program in Architecture in 2010. As instructors and as recent graduates, they saw a need for this kind of catalogue from both sides - as a reference manual applicable to design students in all stages of their studies, as well as a teaching tool for instructors to help students understand the strong spatial potential of abstract operations.
Interviews with innovators who define seventeen new architectural practice types including community enabler, management thinker, and civic entrepreneur.
The underlying theme of Twenty-Five+ Buildings Every Architect Should Understand is the relationship of architecture to the human being, how it frames our lives and orchestrates our experience; how it can help us make sense of the world and contribute to our sense of identity and place. Exploring these dimensions through a wide range of case studies that illustrate the rich diversity of twentieth- and twenty-first-century architecture, this book is essential reading for every architect. With the addition of numerous shorter analyses, this new edition covers an even greater range of architectural ideas, providing students and architects with further inspiration for exploration in their own design work. Architects live by ideas. But where do they come from? And how do they shape buildings? There is no one right way to do architecture. This book illustrates many. Its aim is to explore the rich diversity of architectural creativity by analysing a wide range of examples to extract the ideas behind them. Twenty-Five+ Buildings Every Architect Should Understand is a companion to Simon Unwin’s Analysing Architecture: the Universal Language of Place- Making (most recent edition, 2021), and part of the trilogy which also includes his Exercises in Architecture: Learning to Think as an Architect (second edition, 2022). Together the three books offer an introduction to the workings of architecture providing for the three aspects of learning: theory, examples and practice. Twenty-Five+ Buildings focusses on analysing examples using the methodology offered by Analysing Architecture, which operates primarily through the medium of drawing. An underlying theme of Twenty-Five+ Buildings Every Architect Should Understand is the relationship of architecture to the human being, how it frames our lives and orchestrates our experiences; how it can help us give form to the world and contributes to our senses of identity and place. Exploring these dimensions through case studies that illustrate the rich diversity of twentieth- and twenty-first-century architecture, this book is essential reading, and hopefully an inspiration, for every architect. In this new edition supplementary analysis and discussion has been added to each of the twenty-five case studies, drawing attention to their influences from and on other architects. A number of extra shorter analyses have been included too, following the practice of presenting extra small dishes interspersed among main courses in high-end restaurants. These additional short analyses account for the + sign after ‘Twenty-Five’ in the title of this edition, and double the number of buildings analysed to around fifty.
There are a lot of good books available to help people write better. They include dictionaries, usage guides, and various types of writers’ manuals – and professional writers ought to have many of those books on their bookshelves. But most architects and other design and construction professionals are not professional writers. Instead, they are people who spend a large part of their professional lives writing. That’s a big difference, and that’s where this book will help. The Architect’s Guide to Writing has been written not by an English major, but by Bill Schmalz, an architect who knows the kinds of documents his fellow professionals routinely have to write, and understands the kinds of technical mistakes they often make in their writing. This book is designed to meet the specific needs of design and construction professionals. It’s not going to waste their time with the things that most educated professionals know, but it will help them with the things they don’t know or are unsure of. It’s not a Chicago Manual-sized encyclopaedic reference that includes everything any writer would ever need to know, because architects don’t need to know everything. But what they do need to know – and what they use every day in their professional lives – has been assembled in this book.
The hawari of Cairo - narrow non-straight alleyways - are the basic urban units that have formed the medieval city since its foundation back in 969 AD. Until early in the C20th, they made up the primary urban divisions of the city and were residential in nature. Contemporary hawari, by contrast, are increasingly dominated by commercial and industrial activity. This medieval urban maze of extremely short, broken, zigzag streets and dead ends are defensible territories, powerful institutions, and important social systems. While the hawari have been studied as an exemplar for urban structure of medieval Islamic urbanism, and as individual building typologies, this book is the first to examine in detail the socio-spatial practice of the architecture of home in the city. It investigates how people live, communicate and relate to each other within their houses or shared spaces of the alleys, and in doing so, to uncover several new socio-spatial dimensions and meanings in this architectural form. In an attempt to re-establish the link between architecture past and present, and to understand the changing social needs of communities, this book uncovers the notion of home as central to understand architecture in such a city with long history as Cairo. It firstly describes the historical development of the domestic spaces (indoor and outdoor), and provides an inclusive analysis of spaces of everyday activities in the hawari of old Cairo. It then broadens its analysis to other parts of the city, highlighting different customs and representations of home in the city at large. Cairo, in the context of this book, is represented as the most sophisticated urban centre in the Middle East with different and sometimes contrasting approaches to the architecture of home, as a practice and spatial system. In order to analyse the complexity and interconnectedness of the components and elements of the hawari as a 'collective home', it layers its narratives of architectural and social developments as a domestic environment over the past two hundred years, and in doing so, explores the in-depth social meaning and performance of spaces, both private and public.