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A series for the young architect, designer or archeologist who wants to unearth the wonderful cities and dwellings of the past and learn how ancient builders worked. Information is inspired by stories, photos, and architect's challenges.
A series for the young architect, designer or engineer who wants to plan and build their own ecologically sound home that will also help our planet. Information is inspired by stories, photos, and architect's challenges.
Six of America's most exciting new architecture talents, winners of the annual Architectural League contest, present provocative and innovative concepts that show how good design respects and enhances the environment.
During the first five years of a new architectural practice, typical problems arise that have to be managed. Based on the reports of young architectural practices, which were gathered in workshops throughout Europe, this manual analyzes commonly observed and frequent issues, and offers approaches to resolving them. What is special: the approaches were developed from daily working experience, and can be realistically implemented, not least because they are aimed at the different phases of a developing practice – "Getting started", "Making mistakes", "Going public", "Choosing a specialization", and "Doing competitions". For the second edition the texts were extended and corrected; statistics and charts were brought up to date. The cool presentation remains as appealing as in the first issue.
This book complements 'Lessons for Students in Architecture' published in 1991. It charts the background to Hertzberger's work of the last ten years and the ideas informing it, drawing on a wide spectrum of subjects and designs by artists, precursors, past masters and colleagues.
Joseph W. Young, Jr., was acknowledged as one of the five or six major city builders in boomtime Florida. From practically nothing in 1920 he created Hollywood By-the-Sea with an elegant Beaux Arts plan of circles and lakes, calling it a "City Beautiful," an ideal first propounded by Daniel Burnham of Chicago. Young had a rare talent for publicity and a knack for making and spending millions--supported by an immense personal charm that is still remembered decades after his death. This first full biography of Young covers his start as city builder in turn-of-the-century California where new cities blossomed and were ballyhooed, his move to Indianapolis, home of Carl Fisher who developed Miami Beach, his creation of Hollywood and Port Everglades, and his move to his Adirondack resort, ending with his dreams to expand Hollywood, fulfilled after his early death.
Judging from the debates taking place in both education and practice, it appears that architecture is deeply in crisis. New design and production techniques, together with the globalization of capital and even skilled-labour, have reduced architecture to a commodified object, its aesthetic qualities tapping into the current pervasive desire for the spectacular. These developments have changed the architect’s role in the design and production processes of architecture. Moreover, critical architectural theories, including those of Breton, Heidegger and Benjamin, which explored the concepts of technology, modernism, labour and capital and how technology informed the cultural, along with later theories from the 1960s, which focused more on the architect’s theorization of his/her own design strategies, seem increasingly irrelevant. In an age of digital reproduction and commodification, these theoretical approaches need to be reassessed. Bringing together essays and interviews from leading scholars such as Kenneth Frampton, Peggy Deamer, Bernard Tschumi, Donald Kunze and Marco Biraghi, this volume investigates and critically addresses various dimensions of the present crisis of architecture. It poses questions such as: Is architecture a conservative cultural product servicing a given producer/consumer system? Should architecture’s affiliative ties with capitalism be subjected to a measure of criticism that can be expanded to the entirety of the cultural realm? Is architecture’s infusion into the cultural the reason for the visibility of architecture today? What room does the city leave for architecture beyond the present delirium of spectacle? Should the thematic of various New Left criticisms of capitalism be taken as the premise of architectural criticism? Or alternatively, putting the notion of criticality aside is it enough to confine criticism to the production of insightful and pleasurable texts?
