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Debates about environmentally sensitive architecture have been ongoing for nearly a century. From Bauhaus to Eco-House examines key moments of inspiration and exchange between designers and ecologists from the Bauhaus projects of the interwar period to the eco-arks of the late 1980s. From Bauhaus to Eco-House provides new insight into a critical period in the evolution of environmental awareness and design.
It is widely understood that good, affordable eco-housing needs to be at the heart of any attempt to mitigate or adapt to climate change. This is the first book to comprehensively explore eco-housing from a geographical, social and political perspective. It starts from the premise that we already know how to build good eco-houses and we already have the technology to retrofit existing housing. Despite this, relatively few eco-houses are being built. Featuring over thirty case studies of eco-housing in Britain, Spain, Thailand, Argentina and the United States, Eco-Homes examines the ways in which radical changes to our houses – such as making them more temporary, using natural materials, or relying on manual heating and ventilation systems – require changes in how we live. As such, it argues, it is not lack of technology or political will that is holding us back from responding to climate change, but deep-rooted cultural and social understandings of our way of life and what we expect our houses to do for us.
How ecological design emerged in Scandinavia during the 1960s and 1970s, building on both Scandinavia’s design culture and its environmental movement. Scandinavia is famous for its design culture, and for its pioneering efforts toward a sustainable future. In Ecological by Design, Kjetil Fallan shows how these two forces came together in the late 1960s and early 1970s, when Scandinavian designers began to question the endless cycle in which designed objects are produced, consumed, discarded, and replaced in quick succession. The emergence of ecological design in Scandinavia at the height of the popular environmental movement, Fallan suggests, illuminates a little-known reciprocity between environmentalism and design: not only did design play a role in the rise of modern environmentalism, but ecological thinking influenced the transformation in design culture in Scandinavia and beyond that began as the modernist faith in progress and prosperity waned. Fallan describes the efforts of Scandinavian designers to forge an environmental ethics in a commercial design culture sustained by consumption; shows, by recounting a quest for sustainability through Norwegian wood(s), that one of the main characteristics of ecological design is attention to both the local and the global; and explores the emergence of a respectful and sustainable paradigm for international development. Case studies trace key connections to continental Europe, Britain, the US, Central America, and East Africa. Today, ideas of sustainability permeate design discourse, but the historical emergence of ecological design remains largely undiscussed. With this trailblazing book, Fallan fills that gap.
Reconstructing Modernism establishes for the first time the centrality of modernist buildings and architectural periodicals to British mid-century literature. Drawing upon a wealth of previously unexplored architectural criticism by British authors, this book reveals how arguments about architecture led to innovations in literature, as well as to redesigns in the concept of modernism itself. While the city has long been a focus of literary modernist studies, architectural modernism has never had its due. Scholars usually characterize architectural modernism as a parallel modernism or even an incompatible modernism to literature. Giving special attention to dystopian classics Brave New World and Nineteen Eighty-Four, this study argues that sustained attention to modern architecture shaped mid-century authors' political and aesthetic commitments. After many writers deemed modernist architects to be agents for communism and other collectivist movements, they squared themselves--and literary modernist detachment and aesthetic autonomy--against the seemingly tyrannical utopianism of modern architecture; literary aesthetic qualities were reclaimed as political qualities. In this way, Reconstructing Modernism redraws the boundaries of literary modernist studies: rather than simply adding to its canon, it argues that the responsibility for defining literary modernism for the mid-century public was shared by an incredible variety of authors--Edwardians, modernists, satirists, and even anti-modernists.
The Routledge Companion to Biology in Art and Architecture collects thirty essays from a transdisciplinary array of experts on biology in art and architecture. The book presents a diversity of hybrid art-and-science thinking, revealing how science and culture are interwoven. The book situates bioart and bioarchitecture within an expanded field of biology in art, architecture, and design. It proposes an emergent field of biocreativity and outlines its historical and theoretical foundations from the perspective of artists, architects, designers, scientists, historians, and theoreticians. Includes over 150 black and white images.
Why and how was the term ‘built environment’ first introduced? Inventing the Built Environment retrieves the origin of this ubiquitous term. The articulation of the ‘built environment,’ Kei demonstrates, coincided with the redefinition of education, research, and professional practices in architecture and town planning in 1960s Britain. Concentrating on the half-decade during which the term permeated the architectural and planning professions, this book recalls a time when the ‘built environment’ was conceived as a part of the British government’s effort in national economic planning. Inventing the Built Environment unpacks the proposal for a Research Council for the Built Environment to mobilise architecture and town planning for political economy. How a relatively small group of architects, planners, politicians, and researchers transposed scientific thoughts from biology, economics, and computation into the ‘built environment’ will be considered, too. Kei highlights the assumptions about and classification of the population that were made when inventing the ‘built environment.’ The architectural and biosocial implications of the making and remaking of this architectural-environmental notion, in Britain and beyond, will be revealed through the works of pre-eminent architect-planners including Richard Llewelyn-Davies and William Holford. At a time when environmental concerns again take the front seat of architectural and planning debates, this book offers, for scholars and students, an alternative lens to reflect on the assumptions and bias that can be embedded in our architectural lexicons.
From the beginning of the space age, scientists and engineers have worked on systems to help humans survive for the astounding 28,500 days (78 years) needed to reach another planet. They’ve imagined and tried to create a little piece of Earth in a bubble travelling through space, inside of which people could live for decades, centuries, or even millennia. Far Beyond the Moon tells the dramatic story of engineering efforts by astronauts and scientists to create artificial habitats for humans in orbiting space stations, as well as on journeys to Mars and beyond. Along the way, David P. D. Munns and Kärin Nickelsen explore the often unglamorous but very real problem posed by long-term life support: How can we recycle biological wastes to create air, water, and even food in meticulously controlled artificial environments? Together, they draw attention to the unsung participants of the space program—the sanitary engineers, nutritionists, plant physiologists, bacteriologists, and algologists who created and tested artificial environments for space based on chemical technologies of life support—as well as the bioregenerative algae systems developed to reuse waste, water, and nutrients, so that we might cope with a space journey of not just a few days, but months, or more likely, years.
A House in the Sun describes a number of experiments in solar house heating in American architectural, engineering, political, economic, and corporate contexts from the beginning of World War II until the late 1950s. Houses were built across the Midwest, Northeast, and Southwestern United States, and also proposed for sites in India, South Africa, and Morocco. These experiments developed in parallel to transformations in the discussion of modern architecture, relying on new materials and design ideas for both energy efficiency and claims to cultural relevance. Architects were among the myriad cultural and scientific actors to see the solar house as an important designed element of the American future. These experiments also developed as part of a wider analysis of the globe as an interconnected geophysical system. Perceived resource limitations in the immediate postwar period led to new understandings of the relationship between energy, technology and economy. The solar house - both as a charged object in the milieu of suburban expansion, and as a means to raise the standard of living in developing economies - became an important site for social, technological, and design experimentation. This led to new forms of expertise in architecture and other professions. Daniel Barber argues that this mid-century interest in solar energy was one of the first episodes in which resource limitations were seen as an opportunity for design to attain new relevance for potential social and cultural transformations. Furthermore, the solar discussion established both an intellectual framework and a funding structure for the articulation of and response to global environmental concerns in subsequent decades. In presenting evidence of resource tensions at the beginning of the Cold War, the book offers a new perspective on the histories of architecture, technology, and environmentalism, one more fully entangled with the often competing dynamics of geopolitical and geophysical pressures.
The Culture of Nature in the History of Design confronts the dilemma caused by design’s pertinent yet precarious position in environmental discourse through interdisciplinary conversations about the design of nature and the nature of design. Demonstrating that the deep entanglements of design and nature have a deeper and broader history than contemporary discourse on sustainable design and ecological design might imply, this book presents case studies ranging from the eighteenth to the twenty-first century and from Singapore to Mexico. It gathers scholarship on a broad range of fields/practices, from urban planning, landscape architecture, and architecture, to engineering design, industrial design, furniture design and graphic design. From adobe architecture to the atomic bomb, from the bonsai tree to Biosphere 2, from pesticides to photovoltaics, from rust to recycling – the culture of nature permeates the history of design. As an activity and a profession always operating in the borderlands between human and non-human environments, design has always been part of the environmental problem, whilst also being an indispensable part of the solution. The book ventures into domains as diverse as design theory, research, pedagogy, politics, activism, organizations, exhibitions, and fiction and trade literature to explore how design is constantly making and unmaking the environment and, conversely, how the environment is both making and unmaking design. This book will be of great interest to a range of scholarly fields, from design education and design history to environmental policy and environmental history.
Examines how Norway has positioned itself as an alternative, environmentally-sound nation in a world filled with tension and instability.