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From the late Herbert Muschamp, the former architecture critic of The New York Times and one of the most outspoken and influential voices in architectural criticism, a collection of his best work. The pieces here—from The New Republic, Artforum, and The New York Times—reveal how Muschamp’s views were both ahead of their time and timeless. He often wrote about how the right architecture could be inspiring and uplifting, and he uniquely drew on film, literature, and popular culture to write pieces that were passionate and often personal, changing the landscape of architectural criticism in the process. These columns made architecture a subject accessible to everyone at a moment when, because of the heated debate between modernists and postmodernists, architecture had become part of a larger public dialogue. One of the most courageous and engaged voices in his field, he devoted many columns at the Times to the lack of serious new architecture in this country, and particularly in New York, and spoke out against the agenda of developers. He departed from the usual dry, didactic style of much architectural writing to playfully, for example, compare Frank Gehry’s Guggenheim Bilbao to the body of Marilyn Monroe or to wax poetic about a new design for Manhattan’s manhole covers. One sees in this collection that Muschamp championed early on the work of Frank Gehry, Rem Koolhaas, Zaha Hadid, Thom Payne, Frank Israel, Jean Nouvel, and Santiago Calatrava, among others, and was drawn to the theoretical writings of such architects as Peter Eisenman. Published here for the first time is the uncut version of his brilliant and poignant essay about gay culture and Edward Durrell Stone’s museum at 2 Columbus Circle. Fragments from the book he left unfinished, whose title we took for this collection—“A Dozen Years,” “Metroscope,” and “Atomic Secrets”—are also included. Hearts of the City is dazzling writing from a humanistic thinker whose work changed forever the way we think about our cities—and the buildings in them.
This book defines and discusses the term “hidden geographies” in two ways: systematically and by presenting a variety of examples of the research fields and topics concerning hidden geographies, with the aim of stimulating further basic and applied research in this area. While the term is quite rarely used in the scientific literature (more often as a figure of speech than to illustrate or problematize its deeper meaning), we argue that hidden geographies are everywhere and many of them have significant impacts on (other) natural and social phenomena and processes, subsequently triggering changes, for example in landscape, economy, culture, health or quality of life. The introductory section of the book conceptualises hidden geographies and discusses cognitive geography, symbolization of space, and the hidden geographies in mystical literature. Case studies of hidden environmental geographies address soils, air pollution, coastal pollution and the allocation of an astronomical tourism site. Revealing hidden historical and sacred places is illustrated through examples of the visualisation of the subterranean mining landscape, the analysis of the historical road network and trade, border stones and historical spatial boundaries, and the monastic Carthusian space. Hidden urban geographies are discussed in terms of the urban development of an entire city, presenting the role of geography in rescuing architecture, revealing illegal urbanisation, and the quality of habitation in Roma neighbourhoods. Case studies of hidden population geographies shed light on the ageing of rural populations and the impact of spatial-demographic disparities on fertility variations. Discussions of hidden social and economic geographies problematize recent social changes and conflicts in a country, present the implementation of the fourth industrial revolution and borders as hidden obstacles in the organisation of public transport. Hidden geographies are explicitly linked to perceptions and explanations in case studies that address local responses to perceived marginalisation in a city, the solo women travellers’ perceived risk and safety, and hidden geographical contexts of visible post-war landscapes. The book brings such a diversity of views, ideas and examples related to hidden geographies that can serve both to deepen their understanding and their various impacts on our lives and environment, and to attract further cross-disciplinary interest in considering hidden geographies – in research and in our every-day lives.
Drawing is an important means to analyse information and develop rigorous arguments both conceptually and visually. Going beyond the how-to drawing manual, this book provides an instrumental approach to drawing, especially computer-generated drawings; it outlines how drawings should be used to convey clear and analytical information in the process of design, as well as the communication and discussion of a project. In depth examples are provided how to communicate effectively. The final section demonstrates how to transform case-studies, directly connecting an analytical approach with the design process.
Travel guide to Japan.
This book looks at causative reasons behind creative acts and stylistic expressions. It explores how creativity is initiated by design cognition and explains relationships between style and creativity. The book establishes a new cognitive theory of style and creativity in design and provides designers with insights into their own cognitive processes and styles of thinking, supporting a better understanding of the qualities present in their own design. An explanation of the nature of design cognition begins this work, with a look at how design knowledge is formulated, developed, structured and utilized, and how this utilization triggers style and creativity. The author goes on to review historical studies of style, considering a series of psychological experiments relating to the operational definition, degree, measurement, and creation of style. The work conceptually summarizes the recognition of individual style in products, as well as the creation of such styles as a process before reviewing studies on creativity from various disciplines, presenting case studies and reviewing works by master architects. Readers will discover how creativity is initiated by design cognition. A summary of the correlations between creativity and style, expressed as a conceptual formula describing the cognitive phenomenon of style and creativity concludes the work. The ideas presented here are applicable to all design fields, allowing designers to comprehend and improve their design processes to produce creative, stylistically unique products.