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Chinese Brutalism Today' is divided into three chapters and ends with a methodological afterword that explains the reasons why the research was carried out and the scientific tools used. The first chapter is "Exposed concrete in the design process," the second is "Identity Research: Towards an Ornate Surface" and the third is "Global ambition: towards a polished surface." The narration takes place through a substantial written part accompanied by specific images that facilitate the understanding of the text. Transversally, in the narrative, an interpretation is given to the precise and ambiguous dictates announced in 2017 by President Xi Jinping: to pursue a contemporary architecture made of "international standards with Chinese characteristics."
A Philosophy of Chinese Architecture: Past, Present, Future examines the impact of Chinese philosophy on China’s historic structures, as well as on modern Chinese urban aesthetics and architectural forms. For architecture in China moving forward, author David Wang posits a theory, the New Virtualism, which links current trends in computational design with long-standing Chinese philosophical themes. The book also assesses twentieth-century Chinese architecture through the lenses of positivism, consciousness (phenomenology), and linguistics (structuralism and poststructuralism). Illustrated with over 70 black-and-white images, this book establishes philosophical baselines for assessing architectural developments in China, past, present and future.
Often problematically labeled as “Brutalist” architecture, the concrete buildings that transformed Boston during 1960s and 1970s were conceived with progressive-minded intentions by some of the world’s most influential designers, including Marcel Breuer, Le Corbusier, I. M. Pei, Henry Cobb, Araldo Cossutta, Gerhard Kallmann and Michael McKinnell, Paul Rudolph, Josep Lluís Sert, and The Architects Collaborative. As a worldwide phenomenon, building with concrete represents one of the major architectural movements of the postwar years, but in Boston it was deployed in more numerous and diverse civic, cultural, and academic projects than in any other major U.S. city. After decades of stagnation and corrupt leadership, public investment in Boston in the 1960s catalyzed enormous growth, resulting in a generation of bold buildings that shared a vocabulary of concrete modernism. The period from the 1960 arrival of Edward J. Logue as the powerful and often controversial director of the Boston Redevelopment Authority to the reopening of Quincy Market in 1976 saw Boston as an urban laboratory for the exploration of concrete’s structural and sculptural qualities. What emerged was a vision for the city’s widespread revitalization often referred to as the “New Boston.” Today, when concrete buildings across the nation are in danger of insensitive renovation or demolition, Heroic presents the concrete structures that defined Boston during this remarkable period—from the well-known (Boston City Hall, New England Aquarium, and cornerstones of the Massachusetts Institute of Technology and Harvard University) to the already lost (Mary Otis Stevens and Thomas F. McNulty’s concrete Lincoln House and Studio; Sert, Jackson & Associates’ Martin Luther King Jr. Elementary School)—with hundreds of images; essays by architectural historians Joan Ockman, Lizabeth Cohen, Keith N. Morgan, and Douglass Shand-Tucci; and interviews with a number of the architects themselves. The product of 8 years of research and advocacy, Heroic surveys the intentions and aspirations of this period and considers anew its legacies—both troubled and inspired.
A curated collection of some of the most powerful and awe-inspiring Brutalist architecture ever built This Brutal World is a global survey of this compelling and much-admired style of architecture. It brings to light virtually unknown Brutalist architectural treasures from across the former eastern bloc and other far flung parts of the world. It includes works by some of the best contemporary architects including Zaha Hadid and David Chipperfield as well as by some of the master architects of the 20th century including Le Corbusier, Mies van der Rohe, Frank Lloyd Wright, Louis Kahn, Paul Rudolph and Marcel Breuer.
Investigating the rich architecture of post-Mao China and its broad cultural impact In the years following China's Cultural Revolution, architecture played an active role in the country's reintegration into the global economy and capitalist world. Looking at the ways in which political and social reform transformed Chinese architecture and how, in turn, architecture gave structure to the reforms, Cole Roskam underlines architecture's unique ability to shape space as well as behavior. Roskam traces how foreign influences like postmodernism began to permeate Chinese architectural discourse in the 1970s and 1980s and how figures such as Kevin Lynch, I. M. Pei, and John Portman became key forces in the introduction of Western educational ideologies and new modes of production. Offering important insights into architecture's relationship to the politics, economics, and diplomacy of post-Mao China, this unprecedented interdisciplinary study examines architecture's multivalent status as an art, science, and physical manifestation of cultural identity.
A Best Business Book of 2017 -- The Financial Times China is now the biggest foreign player in Africa. It's Africa's largest trade partner, the largest infrastructure financier, and the fastest-growing source of foreign direct investment. Chinese entrepreneurs are flooding into the continent, investing in long-term assets such as factories and heavy equipment. Considering Africa's difficult history of colonialism, one might suspect that China's activity there is another instance of a foreign power exploiting resources. But as author Irene Yuan Sun vividly shows in this remarkable book, it is really a story about resilient Chinese entrepreneurs building in Africa what they so recently learned to build in China--a global manufacturing powerhouse. The fact that China sees Africa not for its poverty but for its potential wealth is a striking departure from the attitude of the West, particularly that of the United States. Despite fifty years of Western aid programs, Africa still has more people living in extreme poverty than any other region in the world. Those who are serious about raising living standards across the continent know that another strategy is needed. Chinese investment gives rise to a tantalizing possibility: that Africa can industrialize in the coming generation. With a manufacturing-led transformation, Africa would be following in the footsteps of the United States in the nineteenth century, Japan in the early twentieth, and the Asian Tigers in the late twentieth. Many may consider this an old-fashioned way to develop, but as Sun argues, it's the only one that's proven to raise living standards across entire societies in a lasting way. And with every new Chinese factory boss setting up machinery and hiring African workers--and managers--that possibility becomes more real for Africa. With fascinating and moving human stories along with incisive business and economic analysis, The Next Factory of the World will make you rethink both China's role in the world and Africa's future in the globalized economy.
Jeffrey Tucker is well known as the author of many informative and beloved articles and books on the subject of human freedom. Now he’s turned his attention to the most shocking and widespread violation of human freedom in our times: the authoritarian lockdown of society on the pretense that it is necessary in the face of a novel virus. Learning from the experts, Jeffrey Tucker has researched this subject from every angle. In this book, Tucker lays out the history, politics, economics, and science relevant to the coronavirus response. The result is clear: there is no justification for the lockdowns. It’s liberty or lockdown. We have to choose. The book includes a foreword by George Gilder.
Things fall apart. But in his innovative, wide-ranging, and well-illustrated book, Daniel Abramson investigates the American definition of what falling apart entails. We build new buildings partly in response to demand, but even more because we believe that existing buildings are slowly becoming obsolete and need to be replaced. Abramson shows that our idea of obsolescence is a product of our tax code, which was shaped by lobbying from building interests who benefit from the idea that buildings depreciate and need to be replaced. The belief in depreciation is not held worldwide which helps explain why preservation movements struggle more in America than elsewhere. Abramson s tour of our idea of obsolescence culminates in an assessment of recent tropes of sustainability, which struggle to cultivate the idea that the greenest building is the one that already exists."
In this bold, provocative collection, Wang Hui confronts some of the major issues concerning modern China and the status quo of contemporary Chinese thought. The book’s overarching theme is the possibility of an alternative modernity that does not rely on imported conceptions of Chinese history and its legacy. Wang Hui argues that current models, based largely on Western notions of empire and the nation-state, fail to account for the richness and diversity of pre-modern Chinese historical practice. At the same time, he refrains from offering an exclusively Chinese perspective and placing China in an intellectual ghetto. Navigating terrain on regional language and politics, he draws on China’s unique past to expose the inadequacies of European-born standards for assessing modern China’s evolution. He takes issue particularly with the way in which nation-state logic has dominated politically charged concerns like Chinese language standardization and “The Tibetan Question.” His stance is critical—and often controversial—but he locates hope in the kinds of complex, multifaceted arrangements that defined China and much of Asia for centuries. The Politics of Imagining Asia challenges us not only to re-examine our theories of “Asia” but to reconsider what “Europe” means as well. As Theodore Huters writes in his introduction, “Wang Hui’s concerns extend beyond China and Asia to an ambition to rethink world history as a whole.”
The book presents the theoretical and methodical foundations of the award-winning Beyond Bending exhibition at the Venice Architecture Biennale in 2016, giving in-depth analyses, interviews and numerous illustrations and drawings for insight into the making of the exhibition's centerpiece, the Armadillo Vault. The Block Research Group is the DETAIL Reader Prize Winner for 2016.