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Colin Rowe has achieved legendary status as one of a handful ofoutstanding studio teachers of architecture and urban design to emergewithin the last two generations. Colin Rowe has achieved legendary status as one of a handful of outstanding studio teachers of architecture and urban design to emerge within the last two generations. His writings reveal the powerful insight and dispassionate, authoritative intelligence that mark him as one of the preeminent architectural thinkers of this perplexing half century. Divided into three volumes, in more or less chronological order, As I Was Saying includes articles, essays, eulogies, lectures, reviews, and memoranda. Some appeared only in obscure journals, and many are published here for the first time.
Colin Rowe has achieved legendary status as one of a handful of outstanding studio teachers of architecture and urban design to emerge within the last two generations. His writings reveal the powerful insight and dispassionate, authoritative intelligence that mark him as one of the preeminent architectural thinkers of this perplexing half century. Divided into three volumes, in more or less chronological order, As I Was Saying includes articles, essays, eulogies, lectures, reviews, and memoranda. Some appeared only in obscure journals, and many are published here for the first time.
The Architecture of Ruins: Designs on the Past, Present and Future identifies an alternative and significant history of architecture from the sixteenth century to the twenty-first century, in which a building is designed, occupied and imagined as a ruin. This design practice conceives a monument and a ruin as creative, interdependent and simultaneous themes within a single building dialectic, addressing temporal and environmental questions in poetic, psychological and practical terms, and stimulating questions of personal and national identity, nature and culture, weather and climate, permanence and impermanence and life and death. Conceiving a building as a dialogue between a monument and a ruin intensifies the already blurred relations between the unfinished and the ruined and envisages the past, the present and the future in a single architecture. Structured around a collection of biographies, this book conceives a monument and a ruin as metaphors for a life and means to negotiate between a self and a society. Emphasising the interconnections between designers and the particular ways in which later architects learned from earlier ones, the chapters investigate an evolving, interdisciplinary design practice to show the relevance of historical understanding to design. Like a history, a design is a reinterpretation of the past that is meaningful to the present. Equally, a design is equivalent to a fiction, convincing users to suspend disbelief. We expect a history or a novel to be written in words, but they can also be delineated in drawing, cast in concrete or seeded in soil. The architect is a ‘physical novelist’ as well as a ‘physical historian’. Like building sites, ruins are full of potential. In revealing not only what is lost, but also what is incomplete, a ruin suggests the future as well as the past. As a stimulus to the imagination, a ruin’s incomplete and broken forms expand architecture’s allegorical and metaphorical capacity, indicating that a building can remain unfinished, literally and in the imagination, focusing attention on the creativity of users as well as architects. Emphasising the symbiotic relations between nature and culture, a building designed, occupied and imagined as a ruin acknowledges the coproduction of multiple authors, whether human, non-human or atmospheric, and is an appropriate model for architecture in an era of increasing climate change.
While the first half of the 20th century in architecture was, to a large extent, characterized by innovations in aesthetics (accompanied by succinct and polemical manifestoes), the post-war decades saw emerge a more refined and intellectual disciplinary framework that eventually metamorphosed into the highly theory-focused moment of the 'postmodern'. Colin Frederick Rowe (1920 - 1999) was a leader of this epistemic shift due to his aptitude to connect his historical and philosophical erudition to the visual analysis of architecture. This book unites ten different perspectives from architects whose lives and ideas intersected with Rowe’s, including: Robert Maxwell Anthony Vidler Peter Eisenman O. Mathias Ungers Léon Krier Rem Koolhaas Alan Colquhoun Robert Slutzky Bernhard Hoesli Bernard Tschumi With an introduction by Emmanuel Petit and a postscript by Jonah Rowen In their critical assessment of a key 20th century formalist, these renowned architects reflect on how their own positions came to diverge from Rowe’s. Reckoning with Colin Rowe is a thought-provoking discussion of key schools, places, concepts and people of architectural theory since the post-war years, illustrated with over forty beautiful black and white drawings and photographs.
This book examines the central decades of Peter Eisenman’s work through a formal and thematic analysis of key architectural projects and writings, revealing underlying characteristics and arguing for their productive continuity and transformative role. The book explores Eisenman’s approach to architectural form generation and thinking. It does this through a thematic and formal analysis of projects and writings from the mid-1970s to the mid-1990s. Following an introductory chapter addressing the theme of potentialities, the book is organised in two parts. The first part focuses on key period writings of Eisenman, framing the close reading around a practice of resistance, the architect’s approach to history as analysis, and the transformative conceptualisation of time. In the second part, the book undertakes an analysis of select projects from the 1980s and 1990s. Three formal preoccupations and conceptual orientations – ground manipulations, figuration, and spatial events – organise this part of the book. Previously unpublished material from the Peter Eisenman fonds, Canadian Centre for Architecture, Montréal, provides primary source material. A concluding chapter addresses Eisenman’s teaching, its relation to his larger project, and possible legacies for educators, practitioners, scholars, and theorists.
An award-winning architect and educator demystifies the process of making architecture and explains why good architectural design matters. The design of cities and buildings affects the quality of our lives. Making the built environments in which we live, work, and play useful, safe, comfortable, efficient, and as beautiful as possible is a universal quest. What many don’t realize is that professional architects design only about five percent of the built environment. While much of what non-architects build is beautiful and useful, the ugliness and inconveniences that blight many urban areas demonstrate that an understanding of good architectural design is vital for creating livable buildings and public spaces. To help promote this understanding among non-architects and those considering architecture as a profession, award-winning architect and professor Hal Box explains the process from concept to completed building, using real-life examples to illustrate the principles involved. To cause what we build to become architecture, we have three choices: hire an architect, become an architect, or learn to think like an architect. In this book, organized as a series of letters to students and friends, Box covers: what architecture should be and do how to look at and appreciate good buildings how to understand the design process, work with an architect, or become an architect an overview of architectural history, with lists of books to read and buildings to see practical guidance about what goes into constructing a building an architect’s typical training and career path how architecture relates to the city where the art of architecture is headed why good architecture matters
This book is the first survey of a new field in architecture theory: script writing. Rem Koolhaas as Scriptwriter explores the intersection of architecture, film, and text using the example of the working method of scriptwriter, Rem Koolhaas, and the Office for Metropolitan Architecture (OMA). This book argues that Koolhaas formulates his approach to architecture on the basis of the “written sketch” or script, and questions its transformations into built environment in the oeuvre of OMA. Divided into two parts, the first part is a theoretical outline that explores the notion of scriptwriting in film. It provides in-depth insights into the definition and historical evolution of the script—as a blueprint, Hollywood script, avant-garde script, storyboard, the relation to auteur theory, and the difference between the script and scenario. It surveys the first original script for the Exodus, of the Voluntary Prisoners of Architecture. The second part offers a unique perspective on the urban development of West Berlin, in which Koolhaas created a metropolitan script, or blueprint, that spans the period 1971–1989, from his first visit to Berlin to the fall of the Berlin Wall. This book will be of interest to researchers and students of architectural theory, urban history, and film studies.
Combining architectural and urban thinking in an unusual and engaging way, this book presents an integrated approach to architectural theory and design. Leon Battista Alberti’s assertion in his famous Renaissance treatise that ‘the city is like a big house, and the house is in turn like a little city’ forms the springboard for a series of reflections on architecture’s relationship with urbanism and how their once intimate symbiosis, unravelled by International Style Modernism, can be recovered. Explicit references to Alberti’s house-city phrase have been made by figures as diverse as the architects Louis Kahn, Aldo Van Eyck, Denys Lasdun and Niels Torp and novelist Italo Calvino. But, as the book shows, thinking of buildings as little cities provides a new lens through which to reappraise the contributions of many other architects, including Le Corbusier, Frank Lloyd Wright, Alvar Aalto, Eliel Saarinen, Bernard Rudofsky, Hans Scharoun, Leon Krier, Fumihiko Maki, Charles Correa and Team 10. In doing so, the author identifies common themes that form an unexpected bridgehead between the urban and architectural approaches of Antiquity, the Middle Ages, Renaissance and 20th century. The book explores buildings from across the globe, including lesser-known projects, such as Wright’s unbuilt house in Italy or Saarinen’s master plan for Cranbrook Academy, as well as more recent projects by Niels Torp, Behnisch Architekten, Sou Fujimoto, Peter Barber and WOHA. It concludes with practical case studies of residential, health, education and workplace projects from different countries, fulsomely illustrated with many drawings and photographs. These show how architectural design viewed through an urban lens provides a conceptual framework for breaking down the scale of large buildings and integrating them with their context. And crucially, these also show a very accessible way of explaining evolving designs to the intended users and eliciting their participation in the design process. The book offers a compelling approach to the design of projects at all scales, within an ecological perspective: the sense that big and small, cities and buildings must be approached holistically if we are to reverse the degradation and depletion of our habitat, both natural and man-made.
What is the actual difference between architectural and interior design? To answer the question, this book looks into the actions of interior disciplines, to understand what they do, not only what they are. In doing so, it studies them through intersection, to identify the essential principles that characterise this kind of design. From typology to topology, from context to palimpsest, from space to place, the result is a story – particularly focused on the Italian tradition – of the ideas and projects that defined a particular design sensibility that knows no limits of context or scale.
The American landscape is an extremely complex terrain born from a history of collective and individual experiences. These created environments, which all may be called metropolitan landscapes, constantly challenge students and professionals in the fields of architecture, design and planning to consider new ways of making lively public places. This book brings together varied voices in urban design theory and practice to explore new ways of understanding place and our position in it.