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This ground-breaking quarterly aims to act as an international forum for practitioners and academics by publishing cutting-edge work covering all aspects of architectural endeavour. Generously illustrated throughout, Architectural Research Quarterly is edited with busy practitioners and academics in mind. Contents include building design, urbanism, history, theory, environmental design, construction, materials, information technology, and practice. Reviews of significant buildings are published at a length and in a detail matched today by few other architectural journals. Articles in arq 6:4 include: Casbah: a brief history of a design concept; Urban visualisation and public inquiries: the case of Heron Tower, London; Architectural modelling as a form of research; book reviews.
Bringing together a broad range of contributors including art, architecture, and design academic theorists and historians, in addition to practicing artists, architects, and designers, this volume explores the place of the sketchbook in contemporary art and architecture. Drawing upon a diverse range of theories, practices, and reflections common to the contemporary conceptualisation of the sketchbook and its associated environments, it offers a dialogue in which the sketchbook can be understood as a pivotal working tool that contributes to the creative process and the formulation and production of visual ideas. Along with exploring the theoretical, philosophical, psychological, and curatorial implications of the sketchbook, the book addresses emergent digital practices by way of examining contemporary developments in sketchbook productions and pedagogical applications. Consequently, these more recent developments question the validity of the sketchbook as both an instrument of practice and creativity, and as an educational device. International in scope, it not only explores European intellectual and artistic traditions, but also intercultural and cross-cultural perspectives, including reviews of practices in Chinese artworks or Islamic calligraphy, and situational contexts that deal with historical examples, such as Roman art, or modern practices in geographical-cultural regions like Pakistan.
This book is the first scientific study to focus on awards in architecture and the built environment investigating their exponential growth since the 1980s. The celebration of excellence in architecture and related fields remains a phenomenon on which there is strangely little scientific scrutiny. What is to be understood from the plethora of award-winning projects, award-winning buildings and awarded professional practices in the built environment, year after year? Glossy images partake in an intense ballet at every local, regional, national or international award ceremony and they are meant to embody proofs of architectural excellence. However, it is necessary to take a critical distance to question what awards are meant to embody, symbolize, and perhaps measure. Each of the 10 chapters in this volume is centered on one question related to themes as varied as the comparison of Pritzker and Nobel Prizes, the Prix de Rome, the redefinition of quality through awards, green awards and sustainability, the multiplication of sustainable awards, heritage awards, architecture book awards, the awarding of school architecture, awards as mediations and awards as pedagogical devices. Many fields, once consolidated, have featured a sharp increase in related prizes. The original data, compiled and summarized in 4 appendices cover more than 150 award-granting organizations in some 30 countries. Our inventory includes upwards of 24,000 prizes awarded at more than 3,100 events, the earliest of which is the first instance of Western architecture’s seminal Grand Prix de Rome in France in 1720. A history of contemporary architecture is thus written through press releases that praise the merits of the heroes as much as their works and achievements. And while awards can be vehicles that propel architecture forward, they can also be Trojan horses in an era that is constantly on the lookout for event-driven products, small and big news, and brand imaging.
This study illuminates the complex interplay between Deleuze and Guattari's philosophy and architecture. Presenting their wide-ranging impact on late 20th- and 21st-century architecture, each chapter focuses on a core Deleuzian/Guattarian philosophical concept and one key work of architecture which evokes, contorts, or extends it. Challenging the idea that a concept or theory defines and then produces the physical work and not vice versa, Chris L. Smith positions the relationship between Deleuze and Guattari's philosophy and the field of architecture as one that is mutually substantiating and constitutive. In this framework, modes of architectural production and experimentation become inextricable from the conceptual territories defined by these two key thinkers, producing a rigorous discussion of theoretical, practical, and experimental engagements with their ideas.
Building Types and Built Forms weaves two books together in alternating chapters: one about the history of building types, the other about their geometry. The first book follows the histories of some common types of building: houses, hospitals, schools, offices and prisons. Examples are drawn from the 19th and early 20th centuries in France, America and Britain, with the central focus on London. They include the 'pavilion hospitals' associated with the name of Florence Nightingale, English Board and Modernist schools of the 1920s and 30s, tall office buildings in Chicago and New York, Jeremy Bentham's Panopticon penitentiary, and 'radial prisons' on the model of Cherry Hill and Pentonville. The second book takes these histories and uses them to explore how the forms of these buildings are constrained by some of the basic functions of architecture: to provide daylight and ventilation to the interior, to provide access to all rooms, or to allow occupants to see from one part of a building to another. A new way of thinking about these 'worlds of geometrical possibility' is introduced, in which the forms of many buildings can be catalogued and laid out systematically in 'morphospaces', or theoretical spaces of forms. As building types change over time, they come to occupy different positions within the worlds of possible forms. Building Types and Built Forms is filled with over 400 illustrations, many drawn especially for the book. It offers a new theoretical approach, combined with a series of historical accounts of building types, some well known, some less familiar. It should appeal to academics, practitioners, historians and students of architecture.
Building on the success of the first edition, an engaging and reader-friendly work on complex ideas, Introducing Architectural Theory: Expanding the Disciplinary Debate, broadens the range of themes, voices, and geographies represented to provide a more comprehensive and contemporary theory book. This book presents major discourses in architectural theory and design in a debate-like format, integrating a series of edited texts across architectural history with context and newly written commentaries by the authors. This new edition has been fully revised, updated, and expanded to include long-standing debates, such as simplicity vs. complexity or the relationship between form and function, as well as newer discussions on innovation, globalization, and social equity. Authors Smith and Guitart provide a comprehensive means and conceptual framework for readers to compare multiple points of view. The chapter structure, discussion questions, and additional resources allow teachers to facilitate in-class discussions and writing assignments. This book remains the most accessible architectural theory textbook, written for beginning architecture students and those outside the discipline. Its reflective and critical approach will equally engage the minds of upper-level students and experts.
Flexible housing is housing that can adjust to the changing needs of the user and accommodate new technologies as they emerge. Flexible Housing by Jeremy Till and Tatjana Schneider examines the past, present and future of this important subject through over 160 international examples. Specially commissioned plans, printed to scale, together with over 200 illustrations and diagrams provide fascinating detail and allow direct visual comparisons to be made. Combining history, theory and design the book explains the social and economic benefits that can be achieved and shows the various ways it has been and can be delivered. The book ends with an accessible guide to how flexible housing might be designed and constructed today to achieve adaptable and ultimately sustainable buildings. Housing designers, housing managers and students of architecture, construction and housing will find this book of immense value both as a comprehensive reference and design manual.
Ludwig Mies van der Rohe was one of the leading figures of twentieth-century architecture. For architects and many others who are committed to the modernist tradition, he is a pivotal figure. With in-depth, scholarly essays and opulent photographs and plans, this book traces the multifaceted development of his work, including his first Berlin buildings, his villa projects, his work at the Bauhaus in the 1930s, and his American projects of the postwar years. Jean-Louis Cohen was the director of the Institut français d’architecture until 2003 and is currently a professor at New York University. He has an established reputation as a leading international historian of architecture. His broad and encompassing perspective makes this book a reliable and comprehensive introduction to the work of Mies van der Rohe. Ludwig Mies van der Rohe gehörte zu den führenden Persönlichkeiten in der Architektur des 20. Jahrhunderts und ist für Architekten und viele andere, die sich der Tradition der Moderne verpflichtet haben, eine Schlüsselfigur. Mit wissenschaftlich fundierten Texten und opulentem Plan- und Fotomaterial zeichnet das Buch die facettenreiche Entwicklung seines Werkes nach: Die ersten Berliner Bauten, seine Villenprojekte und Tätigkeit am Bauhaus in den dreißiger Jahren sowie die amerikanischen Projekte der Nachkriegszeit. Jean-Louis Cohen, bis 2003 Direktor des Institut français d’architecture und zur Zeit Professor an der New York University, hat einen etablierten Ruf als international führender Architekturhistoriker. Seine umfassende Perspektive macht das Buch zu einer verlässlichen Einführung in das Werk Mies van der Rohes.
This book is about a lost world, albeit one less than 50 years old. It is the story of a grand plan to demolish most of Whitehall, London’s historic government district, and replace it with a ziggurat-section megastructure built in concrete. In 1965 the architect Leslie Martin submitted a proposal to Charles Pannell, Minister of Public Building and Works in Harold Wilson’s Labour government, for the wholesale reconstruction of London’s ’Government Centre’. Still reeling from war damage, its eighteenth- and nineteenth-century palaces stood as the patched-up headquarters of an imperial bureaucracy which had once dominated the globe. Martin’s plan - by no means modest in conception, scope or scale - proposed their replacement with a complex that would span the roads into Parliament Square, reframing the Houses of Parliament and Westminster Abbey. The project was not executed in the manner envisaged by Martin and his associates, although a surprising number of its proposals were implemented. But the un-built architecture is examined here for its insights into a distinctive moment in British history, when a purposeful technological future seemed not just possible but imminent, apparently sweeping away an anachronistic Edwardian establishment to be replaced with a new meritocracy forged in the ’white heat of technology’. The Whitehall plan had implications well beyond its specific site. It was imagined by its architects as a scientific investigation into ideal building forms for the future, an important development in their project to unify science and art. For the political actors, it represented a tussle between government departments, between those who believed that Britain needed to discard much of its Victorian and Edwardian decoration in the name of ’professionalization’ and those who sought to preserve its ornate finery. Demolishing Whitehall investigates these tensions between ideas of technology and history, science and art, socialism and el
What is Architectural History? considers the questions and problems posed by architectural historians since the rise of the discipline in the late nineteenth century. How do historians of architecture organise past time and relate it to the present? How does historical evidence translate into historical narrative? Should architectural history be useful for practicing architects? If so, how? Leach treats the disciplinarity of architectural history as an open question, moving between three key approaches to historical knowledge of architecture: within art history, as an historical specialisation and, most prominently, within architecture. He suggests that the confusions around this question have been productive, ensuring a rich variety of approaches to the project of exploring architecture historically. Read alongside introductory surveys of western and global architectural history, this book will open up questions of perspective, frame, and intent for students of architecture, art history, and history. Graduate students and established architectural historians will find much in this book to fuel discussions over the current state of the field in which they work.