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Some buildings are famous. Others deserve to be, but in their modesty remain satisfied to stand simply as excellent works of architecture. Such is the case with Ohio State University School or Architecture's recently completed Knowlton School of Architecture. Designed by the internationally respected firmMack Scogin Merrill Elam, Knowlton manages to project both a monumental physicality and a sense of subdued elegance. Mack Scogin Merrill Elam Architects/Knowlton Hall provides acomprehensive look at this impressive new work using sketches, models, renderings, working drawings, and photographs. As with all of the books in the Source Books in Architecture series, it is accompanied by commentaries from the architects and critics who explore both the technical andcontextual elements of the work.
Zaha Hadid's highly inventive and seemingly unbuildable designs have defied conventional ideas of architectural space and construction. The BMW Central Building in Leipzig, Germany, is no exception. It is the heart of the BMW factory complexthe dynamic focal point of the entire plant that visually, physically, and experientially sustains a sense of animation and motion. With an audacious and abstracted geometry of forms and lines, the BMW Central Building challenges the notion of building as static and is definitive evidence of architecture as art. Zaha Hadid: BMW Central Building, the seventh volume in the Source Books in Architecture series, provides a comprehensive look at this instant modern masterpiece.
"Including an exhaustive presentation of sketches, models, computer renderings, working drawings, and photographs of the construction process and the finished work, this book documents the project at a level of detail that allows complete and careful study from its conception to its completion. This in-depth graphic presentation is accompanied by commentaries from the architect, as well as series editors Jeffery Kipnis and Todd Gannon, that further explore both the cultural and technical significance of this important building."--BOOK JACKET.
Constructing the Persuasive Portfolio helps you learn the art of designing a compelling and effective architectural portfolio. Margaret Fletcher categorizes the architectural portfolio design process into a step-by-step method that you can manage and understand. The full-color book includes 400 portfolio examples from 55 designers, along with more than 50 diagrams, and a set of 48 design actions that are marked throughout. You will learn how to: -Identify your readership -Collect, document, and catalog your work -Organize your portfolio -Visually structure your portfolio -Design your layout -Manage both printed and digital portfolio formats As your ultimate persuasive tool, your portfolio is the single most important design exercise of your academic and professional career. Constructing the Persuasive Portfolio shows you everything you need to know to create your portfolio and is the only portfolio design book you will ever need!
Along with plan and elevation, section is one of the essential representational techniques of architectural design; among architects and educators, debates about a project's section are common and often intense. Until now, however, there has been no framework to describe or evaluate it. Manual of Section fills this void. Paul Lewis, Marc Tsurumaki, and David J. Lewis have developed seven categories of section, revealed in structures ranging from simple one-story buildings to complex structures featuring stacked forms, fantastical shapes, internal holes, inclines, sheared planes, nested forms, or combinations thereof. To illustrate these categories, the authors construct sixty-three intricately detailed cross-section perspective drawings of built projects—many of the most significant structures in international architecture from the last one hundred years—based on extensive archival research. Manual of Section also includes smart and accessible essays on the history and uses of section.
Reyner Banham and the Paradoxes of High Tech reassesses one of the most influential voices in twentieth-century architectural history through a detailed examination of Banham’s writing on High Tech architecture and its immediate antecedents. Taking as a guide Banham’s habit of structuring his writings around dialectical tensions, Todd Gannon sheds new light on Banham’s early engagement with the New Brutalism of Alison and Peter Smithson, his measured enthusiasm for the “clip-on” approach developed by Cedric Price and the Archigram group, his advocacy of “well-tempered environments” fostered by integrated mechanical and electrical systems, and his late-career assessments of High Tech practitioners such as Norman Foster, Richard Rogers, and Renzo Piano. Gannon devotes significant attention to Banham’s late work, including fresh archival materials related to Making Architecture: The Paradoxes of High Tech, the manuscript he left unfinished at his death in 1988. For the first time, readers will have access to Banham’s previously unpublished draft introduction to that book.
In The Story of Post-Modernism, Charles Jencks, the authority on Post-Modern architecture and culture, provides the defining account of Post-Modern architecture from its earliest roots in the early 60s to the present day. By breaking the narrative into seven distinct chapters, which are both chronological and overlapping, Jencks charts the ebb and flow of the movement, the peaks and troughs of different ideas and themes. The book is highly visual. As well as providing a chronological account of the movement, each chapter also has a special feature on the major works of a given period. The first up-to-date narrative of Post-Modern Architecture - other major books on the subject were written 20 years ago. An accessible narrative that will appeal to students who are new to the subject, as well as those who can remember its heyday in the 70s and 80s.
"The architecture of Scogin, Elam, and Bray offers an uncontestably intriguing object for critics and theorists. Their practice is markedly unconventional, but still participates in and reinterprets numerous architectural conventions, from 'modernism' and 'economy' to 'regionalism' and the proprieties of the profession. This ambitious work and the skillful subtlety of its forms provokes a reconsideration of what makes architecture critical, as well as a reformulation of prevalent approaches to architectural criticism. Thus Mark Linder, in his preface, introduces a book in which 'the architecture and the writing are equal partners.' Based on the symposium 'Critical Architecture/Architectural Criticism: the Work of Scogin Elam and Bray,' held in May 1990 at the High Museum of Art in Atlanta, this book is neither simply a presentation of a firm's oeuvre nor merely a collection of illustrated essays. It presents the visual and verbal material in a way that emphasizes the interchanges and debate of the symposium. The authors, all of whom participated in the symposium, explore nine built projects and other unrealized designs by this adventurous young firm, including the downtown branch of the High Museum, Turner Village at Emory University's Candler School of Theology, and the Buckhead Library in Atlanta"-- Page 4 of cover.
Who gets to be where? The Arsenal of Exclusion & Inclusion examines some of the policies, practices, and physical artifacts that have been used by planners, policymakers, developers, real estate brokers, community activists, and other urban actors in the United States to draw, erase, or redraw the lines that divide. The Arsenal inventories these weapons of exclusion and inclusion, describes how they have been used, and speculates about how they might be deployed (or retired) for the sake of more open cities in which more people have access to more places. With contributions from over fifty architects, planners, geographers, historians, and journalists, The Arsenal offers a wide-ranging view of the forces that shape our cities. by Interboro (Tobias Armborst, Daniel D'Oca, Georgeen Theodore)