It has influenced a generation of students and critics interested in the formation of attitudes, themes, and forms which were characteristic of artists and architects working primarily in Europe between 1900 and 1930 under the compulsion of new technological developments in the first machine age.

    In prose of outstanding immediacy, Jane Jacobs writes about what makes streets safe or unsafe; about what constitutes a neighborhood, and what function it serves within the larger organism of the city; about why some neighborhoods remain impoverished while others regenerate themselves. She writes about the salutary role of funeral parlors and tenement windows, the dangers of too much development money and too little diversity. Compassionate, bracingly indignant, and always keenly detailed, Jane Jacobs's monumental work provides an essential framework for assessing the vitality of all cities.

    According to Stewart Brand, a lifelong environmentalist who sees everything in terms of solvable design problems, three profound transformations are underway on Earth right now. Climate change is real and is pushing us toward managing the planet as a whole. Urbanization--half the world's population now lives in cities, and eighty percent will by midcentury--is altering humanity's land impact and wealth. And biotechnology is becoming the world's dominant engineering tool. In light of these changes, Brand suggests that environmentalists are going to have to reverse some longheld opinions and embrace tools that they have traditionally distrusted. Only a radical rethinking of traditional green pieties will allow us to forestall the cataclysmic deterioration of the earth's resources.Whole Earth Discipline shatters a number of myths and presents counterintuitive observations on why cities are actually greener than the countryside, how nuclear power is the future of energy, and why genetic engineering is the key to crop and land management. With a combination of scientific rigour and passionate advocacy, Brand shows us exactly where the sources of our dilemmas lie and offer a bold and inventive set of policies and solutions for creating a more sustainable society. In the end, says Brand, the environmental movement must become newly responsive to fast-moving science and take up the tools and discipline of engineering. We have to learn how to manage the planet's global-scale natural infrastructure with as light a touch as possible and as much intervention as necessary.

    Architecture 101 cuts out the boring explanations, and instead provides a hands-on lesson that keeps you engaged as you explore the world's greatest structures.Featuring only the most important facts, building styles, and architects, you'll enjoy uncovering the remarkable world of architecture with this book. Inside, you'll also find fascinating elements like:Illustrations of popular building styles, such as Georgian and Greek RevivalDrawings of the essential parts of different buildingsUnique profiles of the most inspirational figures in architectureFrom Norman Foster and Frank Lloyd Wright to the Beauvais Cathedral and the Empire State Building, Architecture 101 is packed with hundreds of entertaining architecture tidbits that you can't get anywhere else!

    The strange saga of American architecture in the twentieth century makes for both high comedy and intellectual excitement as Wolfe debunks the European gods of modern and postmodern architecture and their American counterparts.

    

    Today, the majority of the world’s megacities are located in coastal zones, yet few of them are adequately prepared for the floods that will increasingly menace their shores. Instead, most continue to develop luxury waterfront condos for the elite and industrial facilities for corporations. These not only intensify carbon emissions, but also place coastal residents at greater risk when water levels rise.In Extreme Cities, Dawson offers an alarming portrait of the future of our cities, describing the efforts of Staten Island, New York, and Shishmareff, Alaska residents to relocate; Holland’s models for defending against the seas; and the development of New York City before and after Hurricane Sandy. Our best hope lies not with fortified sea walls, he argues. Rather, it lies with urban movements already fighting to remake our cities in a more just and equitable way.As much a harrowing study as a call to arms Extreme Cities is a necessary read for anyone concerned with the threat of global warming, and of the cities of the world.

    In this revised edition of Mr. Giedion's classic work, major sections have been added and there are 81 new illustrations. The chapters on leading contemporary architects have been greatly expanded. There is new material on the later development of Frank Lloyd Wright and the more recent buildings of Walter Gropius, particularly his American Embassy in Athens. In his discussion of Le Corbusier, Mr. Giedion provides detailed analyses of the Carpenter Center at Harvard University, Le Corbusier's only building in the United States, and his Priory of La Tourette near Lyons. There is a section on his relations with his clients and an assessment of his influence on contemporary architecture, including a description of the Le Corbusier Center in Zurich (designed just before his death], which houses his works of art. The chapters on Mies van der Rohe and Alvar Aalto have been brought up to date with examples of their buildings in the sixties. There is an entirely new chapter on the Danish architect Jorn Utzon, whose work, as exemplified in his design for the Sydney Opera House, Mr. Giedion considers representative of post-World War II architectural concepts. A new essay, Changing Notions of the City, traces the evolution of the structure of the city throughout history and examines current attempts to deal with urban growth, as shown in the work of such architects as Jose Luis Sert, Kenzo Tange, and Fumihiko Maki. Mr. Sert's Peabody Terrace is discussed as an example of the interlocking of the collective andindividual spheres. Finally, the conclusion has been enlarged to include a survey of the limits of the organic in architecture.

    From its publication amid the social upheavals of the 1960s up to the present, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism and everyday life in the late twentieth century. Now finally available in a superb English translation approved by the author, Debord's text remains as crucial as ever for understanding the contemporary effects of power, which are increasingly inseparable from the new virtual worlds of our rapidly changing image/information culture.

    They can navigate more data than a doctor or lawyer and act with greater precision. For many years we’ve taken solace in the notion that they can’t create. But now that algorithms can learn and adapt, does the future of creativity belong to machines, too?It is hard to imagine a better guide to the bewildering world of artificial intelligence than Marcus du Sautoy, a celebrated Oxford mathematician whose work on symmetry in the ninth dimension has taken him to the vertiginous edge of mathematical understanding. In The Creativity Code he considers what machine learning means for the future of creativity. The Pollockizer can produce drip paintings in the style of Jackson Pollock, Botnik spins off fanciful (if improbable) scenes inspired by J. K. Rowling, and the music-composing algorithm Emmy managed to fool a panel of Bach experts. But do these programs just mimic, or do they have what it takes to create? Du Sautoy argues that to answer this question, we need to understand how the algorithms that drive them work―and this brings him back to his own subject of mathematics, with its puzzles, constraints, and enticing possibilities.While most recent books on AI focus on the future of work, The Creativity Code moves us to the forefront of creative new technologies and offers a more positive and unexpected vision of our future cohabitation with machines. It challenges us to reconsider what it means to be human―and to crack the creativity code.

    

    Aureli uses the term absolute not in the conventional sense of "pure," but to denote something that is resolutely itself after being separated from its other. In the pursuit of the possibility of an absolute architecture, the other is the space of the city, its extensive organization, and its government. Politics is agonism through separation and confrontation; the very condition of architectural form is to separate and be separated. Through its act of separation and being separated, architecture reveals at once the essence of the city and the essence of itself as political form: the city as the composition of (separate) parts. Aureli revisits the work of four architects whose projects were advanced through the making of architectural form but whose concern was the city at large: Andrea Palladio, Giovanni Battista Piranesi, Etienne Louis-Boull'e, and Oswald Mathias Ungers. The work of these architects, Aureli argues, addressed the transformations of the modern city and its urban implications through the elaboration of specific and strategic architectural forms. Their projects for the city do not take the form of an overall plan but are expressed as an "archipelago" of site-specific interventions.

    Four Walls and a Roof challenges this notion, presenting a candid account of what it is really like to work as an architect.Drawing on his own tragicomic experiences in the field, Reinier de Graaf reveals the world of contemporary architecture in vivid snapshots: from suburban New York to the rubble of northern Iraq, from the corridors of wealth in London, Moscow, and Dubai to garbage-strewn wastelands that represent the demolished hopes of postwar social housing. We meet oligarchs determined to translate ambitions into concrete and steel, developers for whom architecture is mere investment, and the layers of politicians, bureaucrats, consultants, and mysterious hangers-on who lie between any architectural idea and the chance of its execution.Four Walls and a Roof tells the story of a profession buffeted by external forces that determine--at least as much as individual inspiration--what architects design. Perhaps the most important myth debunked is success itself. To achieve anything, architects must serve the powers they strive to critique, finding themselves in a perpetual conflict of interest. Together, architects, developers, politicians, and consultants form an improvised world of contest and compromise that none alone can control.

    He introduces the reader to communal architecture--architecture produced not by specialists but by the spontaneous and continuing activity of a whole people with a common heritage, acting within a community experience. A prehistoric theater district for a hundred thousand spectators on the American continent and underground towns and villages (complete with schools, offices, and factories) inhabited by millions of people are among the unexpected phenomena he brings to light.The beauty of primitive architecture has often been dismissed as accidental, but today we recognize in it an art form that has resulted from human intelligence applied to uniquely human modes of life. Indeed, Rudofsky sees the philosophy and practical knowledge of the untutored builders as untapped sources of inspiration for industrial man trapped in his chaotic cities.

    We live in a time when only a few gifted and dedicated teams of designers can produce buildings that approach the beauty of these that eighteenth-century carpenters created all by themselves. What went wrong? In this fascinating tour of our buildings and our social history, Jonathan Hale examines the historical moment in the 1830s when builders and architects began to lose their sense of surety about what they were doing. He explores the societal pressures that turned buildings from pure efforts at expression into structures laden with symbols. Most important, he uncovers - in terms the lay reader can easily understand - the principles that animate great architecture, no matter what its style or period. In The