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Architectures of Poetry is the first comprehensive accounting of the currently intense dialogue between the sister arts of poetry and architecture. Refusing to take either term in a metaphoric sense, the eleven essays collected in this volume exemplify an exciting methodological direction for work in the humanities: a literal wager that is willing to take the unintended suggestions of language as reality. At the same time, they also provide close readings of the work of a number of important writers. In addition to a suite of essays devoted to the team of Arakawa and Madeline Gins, chapters focus on figures as diverse as Francesco Borromini, Rainer Maria Rilke, Stéphane Mallarmé, Friedrich Achleitner, John Cage and Lyn Hejinian.
Through careful analysis of the Romanesque cathedral of Molfetta (in Apulia, southern Italy), Williams demonstrates how the commercial boom of the medieval Mediterranean changed the way churches were funded, designed, and built. The young bishopric of Molfetta, emerging in an economy of long-distance trade, competed with much wealthier institutions in its own diocese. Funding for the cathedral was slow and unpredictable. To adapt, the builders designed toward versatility, embracing multi-functionalism, change over time, specialization, and a heterogeneous style.
Composed of a series of essays, this book deals with the broad issues affecting the nature of architectural materials and provides a focused review of the state of the art materials. It also provides designers with the tools they need to evaluate and select from the thousands of different materials that are available to them. The book is organized into three sections; ‘Time’ looks at how the materials used in architectural design have changed over the years showing how we have come to use the materials we do in contemporary design. ‘Materials’ covers all five material families; metals, polymers, ceramics, composites and natural materials giving in depth information on their properties, behavior, origins and uses in design. It also introduces a review of the cutting edge research for each family. ‘Systems’ outlines the technical design-orientated research that uncovers how new architectural assemblies can be designed and engineered. All of this practical advice is given along with many real case examples illustrating how this knowledge and information has been, and can be, used in architectural design.
Myra Jehlen's aim in these essays is to read for what she calls the edge of literature: the point at which writing seems unable to say more, which is also, for Jehlen, the threshold of the real. It is here, she argues, that the central paradoxes of the American project become clear—self-reliance and responsibility, universal equality and the pursuit of empire, writing from the heart and representing shared values and ideas. Developing these paradoxes to their utmost tension, American writers often produce penetrating critiques of American society without puncturing its basic myths. For instance, Mark Twain's Puddn'head Wilson begins as a slashing satire of racism, only to conclude by demonstrating that even an invisible portion of black blood can make a man a murderer. Throughout these essays Jehlen demonstrates the crucial role that the process of writing itself plays in unfolding these paradoxes, whether in the form of novels by Harriet Beecher Stowe and Virginia Woolf; the histories of Captain John Smith; or even a work of architecture, such as the Guggenheim museum in Bilbao.
A Primer on Theory in Architecture discusses how theory is defined in architecture, how it is identified, its location in larger perspectives or worldviews, its relationships to other areas in architecture, and how it can be constructed. The book explores the definition, elements and characteristics of theory along with subjects associated with theory and how these associations are recognized. In addition, case studies tackle both individual theorists and common approaches to the topic. Aimed at the new student of architectural theory, if you are just beginning to tackle this subject, begin with this book.
Architecture and Revolution explores the consequences of the 1989 revolutions in Central and Eastern Europe from an architectural perspective. It presents new writings from a team of renowned architects, philosophers and cultural theorists from both the East and the West. They explore the questions over the built environment that now face architects, planners and politicians in the region. They examine the problems of buildings inherited from the communist era: some are environmentally inadequate, many were designed to serve a now redundant social programme and others carry the stigma of association with previous regimes. Contributors include: Daniel Libeskind, Bernard Tschumi, Laura Mulvey, Helene Cixous, Andrew Benjamin and Frederic Jameson.
The first edition of Architecture, Power, and National Identity, published in 1992, has become a classic, winning the prestigious Spiro Kostof award for the best book in architecture and urbanism. Lawrence Vale fully has fully updated the book, which focuses on the relationship between the design of national capitals across the world and the formation of national identity in modernity. Tied to this, it explains the role that architecture and planning play in the forceful assertion of state power. The book is truly international in scope, looking at capital cities in the United States, India, Brazil, Sri Lanka, Kuwait, Bangladesh, and Papua New Guinea.
This collection of essays, by a number of established scholars and artists, proposes new directions for Marxist cultural theory and the criticism of modern visual culture. It addresses a diverse range of topics, including the state and revolution, Communist and post-Communist aesthetics, Situationist thought and the avant-garde, subjectivity and commodification, and the politics and problems of contemporary artistic practice. The contributions also consider several other pressing questions in the visual arts, from the practice of digital culture to appropriations of critical theory, from the relations of art and the spectacle to architecture in the age of global modernity. This book on Marxism and art is not offered in a spirit of nostalgia: on the contrary, it testifies to the continuing vitality and confidence of historical materialist thought in the field of cultural theory and practice in the 21st century.
From the earliest periods of architecture and building, architects’ actions have been conditioned by rules, regulations, standards, and governance practices. These range from socio-cultural and religious codes seeking to influence the formal structure of settlement patterns, to prescriptive building regulations specifying detailed elements of design in relation to the safety of building structures. In Architectural Design and Regulation the authors argue that the rule and regulatory basis of architecture is part of a broader field of socio-institutional and political interventions in the design and development process that serve to delimit, and define, the scope of the activities of architects. The book explores how the practices of architects are embedded in complex systems of rules and regulations. The authors develop the understanding that the rules and regulations of building form and performance ought not to be counterpoised as external to creative processes and practices, but as integral to the creation of well-designed places. The contribution of Architectural Design and Regulation is to show that far from the rule and regulatory basis of architecture undermining the capacities of architects to design, they are the basis for new and challenging activities that open up possibilities for reinventing the actions of architects.
Visioning Technologies brings together a collection of texts from leading theorists to examine how architecture has been, and is, reframed and restructured by the visual and theoretical frameworks introduced by different ‘technologies of sight’ – understood to include orthographic projection, perspective drawing, telescopic devices, photography, film and computer visualization, amongst others. Each chapter deals with its own area and historical period of expertise, organized sequentially to mark out and analyse the historical evolution of how architecture has been transformed by technologically induced shifts in human perception from the 15th century until today. This book underlines the way in which architectural forms and design processes have developed historically in conjunction with the systems of sight we manufacture technologically and suggests this continues today. Paradoxically, it is premised on the argument that these technological systems tend, in their initial formulations, to obtain ever greater realism in our visualizations of the physical world.