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This monograph contains many designs for homes, for museums, high-rise buildings, and various applications of their PRO/con and PRO/dek prefab work.
Wes Jones has defined a new industrial aesthetic for the 21st century.
Bringing together leading international practitioners and theorists in the field, ranging from the 1960s pioneers of participation to some of the major contemporary figures in the field, Architecture and Participation opens up the social and political aspects of our built environment, and the way that the eventual users may shape it. Divided into three sections, looking at the politics, histories and practices of participation, the book gives both a broad theoretical background and more direct examples of participation in practice. Respectively the book explores participation's broader context, outlining key themes and including work from some seminal European figures and shows examples of how leading practitioners have put their ideas into action. Illustrated throughout, the authors present to students, practitioners and policy makers an exploration of how a participative approach may lead to new spatial conditions, as well as to new types of architectural practices, and investigates the way that the user has been included in the design process.
Filled with beautiful photographs and informative essays, this volume presents the genius of A. Quincy Jones, whose collaborative nature provides a timely example for today's architects. While the architect A. Quincy Jones is most recognized for his glamorous homes for Los Angeles's cultural elite, he was equally dedicated to postwar Southern California's rapidly expanding middle class. As this fascinating book reveals, Jones and his collaborators were truly ahead of their time. Their vision of creating affordable, aesthetically pleasing structures prefigured the advent of several important architectural trends, such as sustainable building designs, maximization of available space, and sensitive site planning. Filled with images by noted photographer Jason Schmidt, as well as period photographs by Julius Shulman and others, this volume looks at every aspect of Jones's career. Original drawings, models, and furniture designs from the architect's personal archives illustrate a wide variety of projects featuring the hallmarks of Jones's style: soaring interior spaces, the blurring of indoors and out, laminated timber construction, angled walls, and innovative use of concrete, redwood, and glass. Essays explore Jones's quintessentially collaborative nature as he consulted with other noted architects, landscapers, interior designers, developers, and city planners to create buildings of lasting beauty and importance.
Franco Albini’s works of architecture and design, produced between 1930 and 1977, have enjoyed a recent revival but to date have received only sporadic scholarly attention from historians and critics of the Modern Movement. A chorus of Italian voices has sung his praises, none more eloquently than his protégé, Renzo Piano. Kay Bea Jones’ illuminating study of selected works by Studio Albini will reintroduce his contributions to one of the most productive periods in Italian design. Albini emerged from the ideology of Rationalism to produce some of Italy’s most coherent and poetic examples of modern design. He collaborated for over 25 years with Franca Helg and at a time when professional male-female partnerships were virtually unknown. His museums and installation motifs changed the way Italians displayed historic artifacts. He composed novel suspension structures for dwellings, shops, galleries and his signature INA pavilions where levity and gravity became symbolic devices for connoting his subjects. Albini clarified the vital role of tradition in modern architecture as he experimented with domestic space. His cohort defied CIAM ideologies to re-socialize postwar housing and speculate on ways of reviving Italian cities. He explored new fabrication technologies, from the scale of furniture to wide-span steel structures, yet he never abandoned the rigors of craft and detail in favor of mass-production. Suspending Modernity follows the evolution of Albini’s most important buildings and projects, even as they reveal his apprehensive attitudes about the modern condition. Jones argues here that Albini’s masterful use of materials and architectural expression mark an epic paradigm shift in the modern period.
Today, nearly a century after the National Fascist Party came to power in Italy, questions about the built legacy of the regime provoke polemics among architects and scholars. Mussolini’s government constructed thousands of new buildings across the Italian Peninsula and islands and in colonial territories. From hospitals, post offices and stadia to housing, summer camps, Fascist Party Headquarters, ceremonial spaces, roads, railways and bridges, the physical traces of the regime have a presence in nearly every Italian town. The Routledge Companion to Italian Fascist Architecture investigates what has become of the architectural and urban projects of Italian fascism, how sites have been transformed or adapted and what constitutes the meaning of these buildings and cities today. The essays include a rich array of new arguments by both senior and early career scholars from Italy and beyond. They examine the reception of fascist architecture through studies of destruction and adaptation, debates over reuse, artistic interventions and even routine daily practices, which may slowly alter collective understandings of such places. Paolo Portoghesi sheds light on the subject from his internal perspective, while Harald Bodenschatz situates Italy among period totalitarian authorities and their symbols across Europe. Section editors frame, synthesize and moderate essays that explore fascism’s afterlife; how the physical legacy of the regime has been altered and preserved and what it means now. This critical history of interpretations of fascist-era architecture and urban projects broadens our understanding of the relationships among politics, identity, memory and place. This companion will be of interest to students and scholars in a range of fields, including Italian history, architectural history, cultural studies, visual sociology, political science and art history.
Cover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- Preface -- Foreword: Reinventing Nature -- Acknowledgments -- Part I Design Research in Practice: Methodology and Approach with Historical Precedents and Case Studies -- 1 Bioconstructivisms -- Trans-Disciplinary Research Practice: Contemporary Case Studies -- 2 Design Research in Practice: A New Model -- Part II Design Computation Tools for Architecture and Science: New Tools and Forms -- Introduction to Design Computation Tools for Architecture and Science: New Tools and Forms -- 3 Networking: Elasticity and Branching Morphogenesis -- Comments on the Role of the Matrix -- New Architectural Concerns -- 4 Motility: Adaptive Architecture and Personalized Medicine -- Topologically Free Cells -- Avoiding Biomimicry -- Visualizing in Another Dimension -- Positioning Mechanism -- Newness -- 5 Surface Design: The Mammary Gland as a Model of Architectural Connectivity -- On Geometry and Cellular Mechanics -- Biological Data and Intuition -- Case Study: Understanding Behavioral Rule Sets through Cell Motility -- Case Study: Motility and the Observation of Change -- Case Study: Microfabrication: Spatializing Cell Signaling and Sensing Mechanisms -- 6 BioInspired Materials and Design -- Part III Architectural Prototyping: Human-Scale Material Systems and Big Datascapes -- 7 The New Science of Making -- 8 Matter Design Computation: Biosynthesis and New Paradigms of Making -- Project: Branching Morphogenesis, 2008 -- Project: Ground Substance, 2009 -- Workshop: Nonlinear Systems Biology and Design, 2010 -- Part IV Personalized Architecture and Medicine -- 9 eSkin: BioInspired Adaptive Materials -- 10 myThread Pavilion -- Interview: RE(IN)FORM(ULAT)ING Health Care via Medicine + Creativity -- Conclusion -- Notes on Contributors -- Image Credits -- Index
SOUPERgreen! features projects and essays that offer a long overdue critique of the current approach to “green” architecture and, in turn, demonstrate a more appropriate way for architects to address the challenges posed by the environmental crisis. In sharp contrast to contemporary examples of “green” or “sustainable” architecture—which primarily rely upon the invisible agency of unremarkable technologies and materials to reduce resource consumption, but which do so without producing a necessary shift in the public’s perception of the environment or behavior towards it—SOUPERgreen! demonstrates how green technology can not only perform from a measurable standpoint, but can also produce engaging experiences that profoundly alter, enhance, and transform the public’s understanding of the environment. By leveraging the inherently expressive nature of technology in order to dramatize the constantly negotiated relationship between humanity and the natural world, the “souped-up” green architecture featured in SOUPERgreen! transforms “greenness” from a mere measurement of environmental performance into an actively engaged and highly conscious lived reality—resulting in a new way of experiencing and understanding the environment that is inherently more ecological. Includes a foreward by Sanford Kwinter.
How to Read New York uncovers and illuminates the rich architectural language of one of the world's truly great cities, from its celebrated skyscrapers to its lesser-known treasures. Charting both the key technical developments and aesthetic movements that have influenced architecture in the Big Apple, this accessible guide.