Download Free Moshe Safdie Volume 1 Book in PDF and EPUB Free Download. You can read online Moshe Safdie Volume 1 and write the review.

Safdie is one of the greatest and most energetic architectural thinkers of our time. This book features essays on his work, illustrated in color photographs.
This elegantly designed book features new photography and essays examining Safdie's role in the move toward architectural globalisation.
Moshe Safdie achieved worldwide recognition as an architect when his very first building, Habitat 67, at Expo in Montreal, proved to be eminently livable. He was also enthusiastically praised as a writer on architectural and human values after the publication of his first book, Beyond Habitat (The MIT Press, 1970). He has since added to his luster a number of exciting architectural projects, and now this second book, For Everyone a Garden, goes beyond Beyond Habitat in several ways: it provides further detail and technical specificity of Safdie's experience with industrialized building methods for architects and engineers; it updates the status of ongoing projects; and, best of all, it throws off a cascade of sparkling new ideas about people, building, planning, sites, processes, and their interactions. His readers will be glad to know that he remains as outspoken as ever. The book is an integral synthesis of words and pictures. The greater part of its total net area is devoted to illustrations--about 125 drawings, 165 halftones, and 5 color photographs, supported by substantial captions--while the text proper puts these into perspective from four thematic points of view: the idea of the three-dimensional community; the requirements and possibilities of human habitation, ranging in amenity from the minimal to the luxurious; the techniques of building in the factory, with a case study that includes a typical plant layout and simplified flow diagrams; and the attributes of well-planned urban meeting places, whether in Jerusalem, Paris, or San Francisco. The specific projects discussed in the book range from a proposal to convert Expo into a viable community of a quarter-million people after the close of the exhibition to his plans for a synagogue and rabbinical college near the Western Wall in Jerusalem. There are also reports on Safdie's more recent commissions, including the following: --Two projects intended for Manhattan along the East River. In one, the pre-built housing modules were to be suspended from cables. For everyone, a garden and a view. --The original plans for Habitat Puerto Rico, a cluster of modules clinging to a hillside, and a geometric variation designed to root like a cactus to a rocky peninsula in the Virgin Islands. For everyone, a private garden within a natural community garden. --Habitat Israel: even near the desert, a garden terrace for every family. --Habitat Rochester, a community for low- and moderate-income families, with units of minimal size, but all with a small terrace beyond sliding glass doors. --Coldspring New Town, Baltimore, a Commission of 1971. It promises to be one of the few garden cities in America to live up to the name in reality.
175 meters long, the museum bores like a triangular beam through the Har Hazikaron, or Mount of Remembrance. It juts out from the hillside at either end, allowing visitors to enter and look out. This spectacular architecture is the setting for a lavish and impressive exhibition commemorating the Holocaust. The structure is the culmination of Moshe Safdiea (TM)s work in Israel. The architect, a student of Louis Kahn who began his career with the sensational residential complex Habitat at the 1967 Montreal Worlda (TM)s Fair, maintains offices in Boston, Toronto, and Jerusalem. The museum, its architecture, and its series of interior spaces with their carefully designed exhibition facilities are documented in an indepth photo essay and illustrated with texts and plans.
Arthur Erickson, Canada's pre-eminent philosopher architect, was renowned internationally for his innovative approach to landscape, his genius for spatial composition, and his epic vision of architecture for people. Among his most celebrated large-scale works are three that helped to define Vancouver's urban landscape: Simon Fraser University, on Burnaby Mountain; the Robson Square complex at the heart of the city; and the exquisite Museum of Anthropology at the University of British Columbia. Travel was key to Erickson's creative process; floating high above the clouds on extended airline flights, he made preliminary drawings on vellum with his fine-point black felt-tip pen, designing influential works not only for other parts of Canada-including Toronto's widely admired Roy Thomson Hall--but for sites in the U.S., Britain, and the Middle and Far East. Erickson worked chiefly in concrete, which he called "the marble of our times," and wherever they appear, his buildings move the spirit with their poetic freshness and their mission to inspire. But he was also a controversial figure, more than once attracting the ire of his fellow architects, and his professional achievements were tarnished by the excesses of a complicated personal life that resulted in a series of tawdry bankruptcies. In a fall from grace that recalls a Greek tragedy, Canada's great architect-a handsome, elegant man who lived like a millionaire and counted among his close friends Pierre Trudeau and Elizabeth Taylor-eventually became homeless and penniless. This first full biography of Erickson, who died in 2009 at the age of eighty-four, traces the architect's life from its modest origins to his emergence on the world stage. Author David Stouck, acclaimed for his earlier biographies of Ethel Wilson and Sinclair Ross, demonstrates here once again why his work has been praised as imaginative, incisive and compelling. Grounded in interviews with Erickson and his family, friends and clients, as well as the resources of extensive public archives, TITLE is both an intimate portrait of the man and a stirring account of how Erickson made his buildings work. Beautifully written and superbly researched, it is also a provocative look at the phenomenon of cultural heroes and the nature of what we call "genius."
Buildings are neither conceived nor realized by architects in a vacuum; the architect forms part of a larger team of builders, craftsmen, engineers and other experts who join forces to bring together their diverse fields of knowledge. This book describes the design and development of the building process for the wings at the Yitzhak Rabin Centre in Tel Aviv, and demonstrates how collaborative building, technical design and development can lead in an integrated and innovative, but risky process to an extreme innovation, an Octatube ‘Moonshot’. The challenge posed by the Rabin Centre wings was to develop an entirely novel technology for constructing free form shells. It is necessary for many disciplines to collaborate in such a process, and these must be coordinated throughout the entire process, including all of its unforeseen and experimental stages. The results of the process then have to be integrated into one technical artifact that satisfies all requirements and delivers effective answers or compromises in all of its life phases, be that conceptual design, material design, detail design, engineering, production, assembly, installation, loading behavior, functional use as a building, meaning of the building as an artifact (even as architecture) and, in both its local and global context, in its meaning as an integral part of the building.
A superb visual reference to the principles of architecture Now including interactive CD-ROM! For more than thirty years, the beautifully illustrated Architecture: Form, Space, and Order has been the classic introduction to the basic vocabulary of architectural design. The updated Third Edition features expanded sections on circulation, light, views, and site context, along with new considerations of environmental factors, building codes, and contemporary examples of form, space, and order. This classic visual reference helps both students and practicing architects understand the basic vocabulary of architectural design by examining how form and space are ordered in the built environment.? Using his trademark meticulous drawing, Professor Ching shows the relationship between fundamental elements of architecture through the ages and across cultural boundaries. By looking at these seminal ideas, Architecture: Form, Space, and Order encourages the reader to look critically at the built environment and promotes a more evocative understanding of architecture. In addition to updates to content and many of the illustrations, this new edition includes a companion CD-ROM that brings the book's architectural concepts to life through three-dimensional models and animations created by Professor Ching.
Habitat was one of the most intriguing buildings in the world when it opened as the housing exhibit of Expo 67 in Montreal. Seven million visited it; heads of state lived in it; models flew half way around the world to pose in front of it; children played hide-and-seek all over it; and critics heralded it as the breakthrough of twentieth century architecture. As intriguing as the building is the story of how it came to exist. Here, in Beyond Habitat, its young architect Moshe Safdie describes -- with a frankness that permits a rare view behind the scenes of modern architecture and mass housing -- how his ideas developed and how he fought them into realization. It is a personal statement - almost a private diary and photo album, often containing observations of a kind one confides only to a friend. Safdie tells his story now because he believes that what lies beyond Habitat, what Habitat presaged, is even more significant than Habitat itself. In each of his projects since, he has tried to advance the work Habitat began: in Habitat Puerto Rico (now under construction); in Habitat Israel, the 1,500 dwelling system covering a mountainside outside Jerusalem; in the design for a union building commissioned by students of the San Francisco State College which, when rejected by state officials, became a symbol influencing the campus uprising; in a spectacular suspension building system for the New York waterfront. Safdie's work points to a new kind of environment: ... factory built cities where modern technology, far from regimenting, is used to liberate man to a wider choice of environment than he has ever known ... three dimensional cities reaching upwards with streets in the sky, gardens on rooftops, dwellings open on three sides to air and space and sun ... creative cities where the cultural riches of a high density environment combine with the quiet and privacy of low density to give men the best of both worlds ... and, most important of all, cities that would express a contemporary vernacular, be so harmony with man's spirit that he would no longer need arbitrary design, inappropriate furnishings and irrelevant art to help him forget the ugliness around him. To achieve such an environment, Safdie believes we must change most of our present attitudes toward government, housing, industry, design and art. Governments must set themselves new action for cities, laws, taxes; they must adopt new environmental codes. Industry must undertake the kind of research in building materials it did for automobiles and airplanes. Contractors must reorganize their methods of working. Unions must give up present division of trades. Building codes and by-laws must be updated. In all of this Habitat Montreal was the beginning. The struggle to get Habitat built is indicative of the kind of the stuggle to build the new city. The fact that Habitat did get built is cause for hope,