Organised largely by building type, and with over 6000 diagrams, it provides a mass of data on spatial requirements and also covers planning criteria and considerations of function and siting. Most illustrations are dimensioned and each building type includes plans, sections, site layouts and design details. There are substantial new sections on:- building components - services - heating - lighting - thermal and sound insulation - fire protection - designing for the disabledAn extensive bibliography and a detailed set of metric/imperial conversion tables are included.Since it was first published in Germany in 1936, Ernst Neufert's handbook has been progressively revised and updated through 35 editions and many translations. This Third Edition of the English language version has been revised for the first time in 20 years and completely reworked, with 40% more material, to provide a major new edition for an international readership. Browse sample pages and buy online: http: //www.blackwellpublishing.com/architect...

    Although it is widely considered a foundational book in contemporary thinking about the city, The Urban Revolution has never been translated into English—until now. This first English edition, deftly translated by Robert Bononno, makes available to a broad audience Lefebvre’s sophisticated insights into the urban dimensions of modern life.Lefebvre begins with the premise that the total urbanization of society is an inevitable process that demands of its critics new interpretive and perceptual approaches that recognize the urban as a complex field of inquiry. Dismissive of cold, modernist visions of the city, particularly those embodied by rationalist architects and urban planners like Le Corbusier, Lefebvre instead articulates the lived experiences of individual inhabitants of the city. In contrast to the ideology of urbanism and its reliance on commodification and bureaucratization—the capitalist logic of market and state—Lefebvre conceives of an urban utopia characterized by self-determination, individual creativity, and authentic social relationships.A brilliantly conceived and theoretically rigorous investigation into the realities and possibilities of urban space, The Urban Revolution remains an essential analysis of and guide to the nature of the city.Henri Lefebvre (d. 1991) was one of the most significant European thinkers of the twentieth century. His many books include The Production of Space (1991), Everyday Life in the Modern World (1994), Introduction to Modernity (1995), and Writings on Cities (1995).Robert Bononno is a full-time translator who lives in New York. His recent translations include The Singular Objects of Architecture by Jean Baudrillard and Jean Nouvel (Minnesota, 2002) and Cyberculture by Pierre Lévy (Minnesota, 2001).

    there suddenly emerges a place for family enjoyment, a space carved out from nature...""Then a man and a woman walking in the rain, open an umbrella, there is immediately created under the umbrella a world of 'just you an me'... "These are exterior spaces – and this book is a complete handbook for the architect on the subject of exterior design. Both the theory and practise of designing exterior space – the city plaza, the exterior of and setting for a building or group of building, the garden, the courtyard, and others– are discussed here in a thoroughly professional approach. Through the imaginative use of illustrations and striking visual-image examples, the author communicates a basic feeling for the concepts of exterior design as well as a clear understanding of the specifics. "When architects create space, not with umbrellas or rugs, but with architectural materials, floors, walls, and ceilings are all important elements. Suppose, for example, that we have built a brick wall on ordinary ground where sunshine sparkles..."Exterior Design in Architecture is a practical handbook. It deals with the realities of design–the problems involved, the approaches possible, examples of what has been done in the field. Mr. Ashihara, who is an internationally known architect, has traveled all over the world gathering material for the book. Japanese and Western (primarily American and Italian) approaches to design are compared and analyzed as to their various merits and possibilities.

    Offering imaginative insight into the area where mathematics and the arts meet, this book may be used as a practical tool by the architect, designer or scientist who has to deal with such problems as defining space, distributing patterns, packing and stacking, and communication links.

    There are, for example, machines that transform two-dimensional drawings into three-dimensional perspective displays and others that check myriad aspects of a design against specifications and tolerance requirements. "The Architecture Machine" looks several machine generations ahead of these to a future in which genuine man-machine dialogue is achieved, when man and machine will act together on something closer to equal terms toward a common goal, each contributing his-its own characteristic faculty.The ideal result would be a final design so seamless and well integrated that it is not possible to tell which partner contributed what, and so creative and innovative, yet contingency-proof, that neither an unaided designer nor the most elaborate computer system could have produced it without the help of the other. Negroponte looks forward to man-machine relationships so personal that each can (politely) interrupt the routine work of the other with a fresh inspiration or a nudging reminder of higher priorities; so personal indeed that the response pattern of a machine to one designer would be significantly different from its dealings with a designer of another temperament or of another culture.Some of the proposals put forth here have already been realized in a system called URBAN5, developed at M.I.T. and IBM by the author and his colleagues. A full account of this system is given. Beyond this, the more radical and adventuresome of the man-machine interactive attributes envisioned by Negroponte are now being created with the coming of more designers (men) trained in the newer technologies and more sophisticated configurations (machines)--and the exploratory interaction of the two.The author has consulted the full literature on systems theory philosophy and has probed deeply into the underlying issues of man-machine relationships and artificial intelligence. It is perhaps not so surprising that an architect rather than a computationist should have provided us with one of the most provocative proposals for humanizing this relationship--architects have always been charged with infusing cold and neutral material with true human dimension and meaning. And although the author's illustrative examples are taken from architecture and planning, the book is equally pertinent to those in other areas in which computer-aided design processes are being pressed into active service. The fact that no specialized knowledge of computers is required will also facilitate the spread of the book's message: "The concern is to avoid dehumanizing a process whose aim is definitely humanization."The text is augmented with over 200 illustrations. The pictures are independent of the text, and the reader should be able to grasp much of the meaning from the pictures and captions alone.

    All characteristics of major styles from New England to the Carolinas.

    All characteristics of major styles from New England to the Carolinas.

    This book contains essays by three Japanese novelists, Yukio Mishima, Yasushi Inoue, and Jiro Osaragi.

    In these talks he affirmed his belief in the future with a positive conviction that was reinforced by the derision with which his acidulous wit reacted against the sterilities of the past. Wright on this occasion was as ever the conscious radical jeffersonian whose message resonates with every "younger generation": At the outset I may as well confess that I have come here with a minority report: an informal Declaration if Independence. Great Britain had one from us, July 4, 1776: a formal Declaration of Independence which concerned taxes; this one, May 2, 1939, concerns the spirit. Am I, then, a rebel, too? Yes. But only a rebel as one who has in his actual work, for a life-time—or is it more—been carrying out in practice day by day, what he believes to be true. This book is the verbatim text of those four talks, which a champion of Wright's has called "one of the best statements of his principles and his ideas." The talks, like all of Wright's productions, are free-ranging and spontaneous in inspiration, solid and workmanlike in execution. In speaking to Londoners at this point in their history and at this point in his own development, Wright is prompted to universalize his concept of organic architecture. Perhaps more than this in his other books, the emphasis shifts from an American—Usonian—architecture growing indigenously from the soil of the American heartland to a more general concept of an architecture than can take root in many landscapes as an honest expression of both the nature of diverse materials and the nature and living needs of diverse populations. What is architecture anyway? Is it a vast collection of the various buildings which have been built to please the varying tastes of the various lords of mankind? No. I think not. I know that architecture is life; or at least it is life itself taking form and therefore is the truest record of life as it was lives in the world yesterday, as it is being lived today or ever will be lived. So architecture I know to be a great spirit. No, it is not something that consists of the buildings which have been built by man on his Earth. Architecture is that great living creative spirit which from generation to generation, from age to age, proceeds, persists, creates, according to the nature of man, and his circumstances as they both change. That really is architecture. Three of the talks open with Wright's narration of films showing examples of his recent work and life with his apprentices at the Taliesins. Here Wright is at his informal best, and the visual references are supplied in the book by the photographs of finished buildings, models, and plans at the end of the volume, dating from projects of the 1930s and roughly paralleling the content of the films. A bibliography and a list of buildings and projected works through 1939 round out the volume.