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Structure As Architecture provides readers with an accessible insight into the relationship between structure and architecture, focusing on the design principles that relate to both fields. Over one hundred case studies of contemporary buildings from countries across the globe including the UK, the US, France, Germany, Spain, Hong Kong and Australia are interspersed throughout the book. The author has visited and photographed each of these examples and analyzed them to show how structure plays a significant architectural role, as well as bearing loads. This is a highly illustrated sourcebook, providing a new insight into the role of structure, and discussing the point where the technical and the aesthetic meet to create the discipline of ‘architecture’.
You can use this book to design a house for yourself with your family; you can use it to work with your neighbors to improve your town and neighborhood; you can use it to design an office, or a workshop, or a public building. And you can use it to guide you in the actual process of construction. After a ten-year silence, Christopher Alexander and his colleagues at the Center for Environmental Structure are now publishing a major statement in the form of three books which will, in their words, "lay the basis for an entirely new approach to architecture, building and planning, which will we hope replace existing ideas and practices entirely." The three books are The Timeless Way of Building, The Oregon Experiment, and this book, A Pattern Language. At the core of these books is the idea that people should design for themselves their own houses, streets, and communities. This idea may be radical (it implies a radical transformation of the architectural profession) but it comes simply from the observation that most of the wonderful places of the world were not made by architects but by the people. At the core of the books, too, is the point that in designing their environments people always rely on certain "languages," which, like the languages we speak, allow them to articulate and communicate an infinite variety of designs within a forma system which gives them coherence. This book provides a language of this kind. It will enable a person to make a design for almost any kind of building, or any part of the built environment. "Patterns," the units of this language, are answers to design problems (How high should a window sill be? How many stories should a building have? How much space in a neighborhood should be devoted to grass and trees?). More than 250 of the patterns in this pattern language are given: each consists of a problem statement, a discussion of the problem with an illustration, and a solution. As the authors say in their introduction, many of the patterns are archetypal, so deeply rooted in the nature of things that it seemly likely that they will be a part of human nature, and human action, as much in five hundred years as they are today.
In Book Oneof this four-volume work, Alexander describes a scientific view of the world in which all space-matter has perceptible degrees of life, and establishes this understanding of living structures as an intellectual basis for a new architecture. He identifies fifteen geometric properties which tend to accompany the presence of life in nature, and also in the buildings and cities we make. These properties are seen over and over in nature and in the cities and streets of the past, but they have almost disappeared in the impersonal developments and buildings of the last hundred years. This book shows that living structures depend on features which make a close connection with the human self, and that only living structure has the capacity to support human well-being.
This unique book illustrates the structure of the fascia in the living human being. Dr Guimberteau's photographs provide a detailed account of fascial architecture. The accompanying text explains what the photographs mean, clarifies the importance of the fascia, and sets out the implications of these findings for everyday therapeutic practice. This beautifully illustrated book provides an introduction to Dr Guimberteau's groundbreaking work. He is the first person to publish video "movies" showing the structure of the fascia and how the fascia responds to. Based on what can be seen he has developed his own concept of the multifibrillar structural organisation of the body, wherein the "microvacuole" is the basic functional unit. His films confirm the continuity of fibres throughout the body thereby seeming to confirm the tensegrity theory, which provides the basis of many manual therapy and bodywork teachings. His work ties in with that of Donald Ingber on tensegrity within the cytoskeleton, and adds to the evidence linking the cytoskeleton to the extracellular matrix as described by james Oschman. The book and videos provide, for the first time, an explanatory introduction and explanation of these theories and link them to the visual evidence shown in the video. This material will be highly valued by osteopaths, massage therapists, chiropractors and others as it provides part of the scientific underpinning of their techniques, as well as an explanation of what is happening when they use those techniques to treat their clients. So Guimberteau's material confirms what manual therapists already believed but didn't fully understand. He has provided an explanation of how fascial layers slide over each other and how adjacent structures can move independently in different directions and at different speeds while maintaining the stability of the surrounding tissues.
This book sets out the conditions under which the need for a new approach to the production of architecture in the twenty-first century is established, where our homes and cities are facing increasing pressures from environmental challenges that are compromising our lives and well being. Vibrant architecture embodies a new kind of architectural design practice that explores how lively materials, or 'vibrant matter', may be incorporated into our buildings to confer on them some of the properties of living things, such as movement, growth, sensitivity and self-repair. The theoretical and practical implications of how this may occur are explored through the application of a new group of materials. Characteristically, these substances possess some of the properties of living systems but may not have the full status of being truly alive. They include forms of chemical artificial life such as 'dynamic droplets' or synthetically produced soils. As complex systems, they are able to communicate directly with the natural world using a shared language of chemistry and so, negotiate their continued survival in a restless world. Vibrant architecture may create new opportunities for architectural design practice that venture beyond top-down form-finding programs, by enabling architects to co-design in partnership with human and nonhuman collectives, which result from the production of post natural landscapes. Ultimately, vibrant architecture may operate as an ecological platform for human development that augments the liveliness of our planet, rather than diminishes it.
There is ample evidence as to how the modern masters, in their shared pursuit of formal inventions and constructional inventions, variously referred to past examples they had freely chosen as guides that could inspire and support them in their strenuous pursuit of new things. The buildings shaped like soft clouds and gelatinous bowels, or the spiked bravura pieces designed by today's fashionable architects have no relation with either construction or history. Louis Kahn, instead, kept form, structure and history paradigmatically together. The book systematically reviews the intense structural experimentation that, in terms not just of building engineering but of spatial and representational potential, marked Kahn's work since the beginning and would eventually lead him, after a long apprenticeship, to an almost constant adoption of 'hollow' structural forms. By reviewing this long and intense journey of research, the book underlines how Louis Kahn, in each work and based on a constant dialogue between structural innovation, building tradition and figural evocation, succeeded in awakening our interest in a new 'fascinating' structure and at the same time our emotion for a deeply meaningful, universal and timeless form.
Joel Beath and Elizabeth Price explore this question drawing inspiration from a diverse collection of apartment designs, all smaller than 50m2/540ft2. Through the lens of five small-footprint design principles and drawing on architectural images and detailed floor plans, the authors examine how architects and designers are reimagining small space living. Full of inspiration we can each apply to our own spaces, this is a book that offers hope and inspiration for a future of our cities and their citizens in which sustainability and style, comfort and affordability can co-exist. Never Too Small proves living better doesn’t have to mean living larger.