17th century to the present. Book was reprinted in 2006

    K. Ching. Each page has been meticulously revised to incorporate contemporary examples of the principles of form, space, and order - the fundamental vocabulary of every designer. The result is a beautifully illustrated volume that embraces today's forms and looks at conventional models with a fresh perspective. Here, Ching examines every principal of architecture, juxtaposing images that span centuries and cross cultural boundaries to create a design vocabulary that is both elemental and timeless. Among the topics covered are point, line, plane, volume, proportion, scale, circulation, and the interdependence of form and space. While this revision continues to be a comprehensive primer on the ways form and space are interrelated and organized in the shaping of our environment, it has been refined to amplify and clarify concepts. In addition, the Second Edition contains numerous new hand-rendered drawings; expanded section on openings and scale; examples of contemporary architectural design elements; expanded chapter on design principles; new glossary and index categorized by the author; and new 8 1/2 x 11 upright trim. In the Second Edition of Architecture: Form, Space, and Order, the author has opted for a larger format and crisper images. Mr. Ching has retained the style of his hand-lettered text, a hallmark of each of his books. This rich source of architectural prototypes, each rendered in Mr. Ching's signature style, also serves as a guide to architectural drawing. Doubtless, many will want this handsomevolume for the sheer beauty of it. Architects and students alike will treasure this book for its wealth of practical information and its precise illustrations. Mr. Ching has once again created a visual reference that illuminates the world of architectural form.

    They reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the twenties and thirties, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announces the end of Soviet Union. Taking advantage of the collapsing monolithic structure, the holes of the widening net, architects revisited all the chronological periods and styles, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba sanatorium), others expressed their imagination in an expressionist way (Tbilisi wedding palace). A summer camp, inspired by sketches of a prototype lunar base, lays claim to its suprematist influence (Promethee). Then comes the speaking architecture widespread in the last years of the USSR: a crematorium adorned with concrete flames (Kiev crematorium), a technological institute with a flying saucer crashed on the roof (Kiev institute), a political center watching you like a Big Brother (Kaliningrad House of Soviet). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of privacy and it also outlines the geography of the USSR, showing how local influences made their exotic twists before bringing the country to its end.

    They are world-famous for their inimitable, democratic designs which bridge the gap between crafts and industrial production. The marriage of beautiful, organic forms with everyday functionality is one of the primary strengths of Scandinavian design and one of the reasons why Scandinavian creations are so cherished and sought after. This guide provides a detailed look at Scandinavian design from 1900 to the present day, with in-depth entries on featured designers and design-led companies, plus essays on the similarities and differences in approach between Norway, Sweden, Finland, Iceland, and Denmark.

    Others may think of it as the last architectural treatise, for it provides a discursive container for ideas that would otherwise be lost. Whatever genre it belongs to, SITELESS is a new kind of architecture book that seems to have come out of nowhere. Its author, a young French architect practicing in Tokyo, admits he "didn't do this out of reverence toward architecture, but rather out of a profound boredom with the discipline, as a sort of compulsive reaction." What would happen if architects liberated their minds from the constraints of site, program, and budget? he asks. The result is a book that is saturated with forms, and as free of words as any architecture book the MIT Press has ever published.The 1001 building forms in SITELESS include structural parasites, chain link towers, ball bearing floors, corrugated corners, exponential balconies, radial facades, crawling frames, forensic housing--and other architectural ideas that may require construction techniques not yet developed and a relation to gravity not yet achieved. SITELESS presents an open-ended compendium of visual ideas for the architectural imagination to draw from. The forms, drawn freehand (to avoid software-specific shapes) but from a constant viewing angle, are presented twelve to a page, with no scale, order, or end to the series. After setting down 1001 forms in siteless conditions and embryonic stages, Blanciak takes one of the forms and performs a "scale test," showing what happens when one of these fantastic ideas is subjected to the actual constraints of a site in central Tokyo. The book ends by illustrating the potential of these shapes to morph into actual building proportions.

    The book focuses on the work of the main architects of the movementsuch as Frank Lloyd Wright, Adolf Loos, Le Corbusier, and Mies van der Rohe, re-examining their work and shedding new light on their roles as acknowledged masters. The author presents a fascinating analysis of architecture with regard to politics, technology, and ideology, all while offering cleardescriptions of the key elements of the Modern movement.Colquhoun shows clearly the evolution of the movement from Art Nouveau in the 1890s to the mega-structures of the 1960s, revealing the often-contradictory demands of form, function, social engagement, modernity and tradition.

    Now revised, enlarged and expanded, Kenneth Frampton brings the story up to date and adds an entirely new concluding chapter that focuses on four countries where individual talent and enlightened patronage have combined to produce a comprehensive and convincing architectural culture: Finland, France, Spain and Japan. The bibliography has also been reviewed and extended, making this volume more indispensable than ever.

    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.

    then the victors imposed democracy on the vanquished. For a group of apprentice architects, artists, and designers, led by a visionary, the dire situation of their country was not an obstacle but an inspiration to plan and think… although they were very different characters, the architects worked closely together to realize their dreams, staunchly supported by a super-creative bureaucracy and an activist state... after 15 years of incubation, they surprised the world with a new architecture—Metabolism—that proposed a radical makeover of the entire land... Then newspapers, magazines, and TV turned the architects into heroes: thinkers and doers, thoroughly modern men… Through sheer hard work, discipline, and the integration of all forms of creativity, their country, Japan, became a shining example... when the oil crisis initiated the end of the West, the architects of Japan spread out over the world to define the contours of a post-Western aesthetic....” —Rem Koolhaas / Hans Ulrich Obrist Between 2005 and 2011, architect Rem Koolhaas and curator Hans Ulrich Obrist interviewed the surviving members of Metabolism—the first non-western avant-garde, launched in Tokyo in 1960, in the midst of Japan’s postwar miracle. Project Japan features hundreds of never-before-seen images—master plans from Manchuria to Tokyo, intimate snapshots of the Metabolists at work and play, architectural models, magazine excerpts, and astonishing sci-fi urban visions—telling the 20th century history of Japan through its architecture, from the tabula rasa of a colonized Manchuria in the 1930s to a devastated Japan after the war, the establishment of Metabolism at the 1960 World Design Conference in Tokoy, to the rise of Kisho Kurokawa as the first celebrity architect, to the apotheosis of Metabolism at Expo ’70 in Osaka and its expansion into the Middle East and Africa in the 1970s. The result is a vivid documentary of the last moment when architecture was a public rather than a private affair.

    In a short amount of time her lively interiors and custom furnishings have made her one of today's most in-demand creatives. Heuman's rooms, colorful spaces enlivened by exuberant elements and poetic inspirations, capture her signature quirkiness and Scandinavian attention to detail while staying rooted in practicality. Lauded for international residential and commercial projects, Heuman has also garnered praise for her growing collection of bespoke fabrics, wallpaper, lighting, homewares, and furniture.This beautifully crafted volume presents Heuman's innovative approach in book form for the very first time. Organized according to design principle, each chapter offers fresh ways to think about decorating a home, finding your voice, making ordinary details extraordinary, and forging a truly unique space. Vibrant photographs showcase standout properties--including several London town houses and a Nantucket vacation residence--that are brought to life by cheerful color palettes, unexpected contrasts, and a d�gag� use of bold patterns and texture. With original drawings and whimsical graphic details, this new tome is a dynamic look into the ethos and work of one of the most exciting names in interior design today.

    Edith was a woman ahead of her time--unmarried, she was a distinguished medical researcher, as well as an accomplished violinist, translator, and poet. The two quickly began spending weekends together, talking philosophy, Catholic mysticism, and, of course, architecture over wine-soaked picnic lunches. Their personal and professional collaboration would produce the Farnsworth House, one of the most important works of architecture of all time, a blindingly original structure made up almost entirely of glass and steel.But the minimalist marvel, built in 1951, was plagued by cost overruns and a sudden chilling of the two friends' mutual affection. Though the building became world famous, Edith found it impossible to live in, because of its constant leaks, flooding, and complete lack of privacy. Alienated and aggrieved, she lent her name to a public campaign against Mies, cheered on by Frank Lloyd Wright. Mies, in turn, sued her for unpaid monies. The ensuing lengthy trial heard evidence of purported incompetence by an acclaimed architect, and allegations of psychological cruelty and emotional trauma. A commercial dispute litigated in a rural Illinois courthouse became a trial of modernist art and architecture itself.Interweaving personal drama and cultural history, Alex Beam presents a stylish, enthralling narrative tapestry, illuminating the fascinating history behind one of the twentieth-century's most beautiful and significant architectural projects.

    Whether you’re enraged by Ikea’s Verdanagate, want to know what the Beach Boys have in common with easy Jet or why it’s okay to like Comic Sans, Just My Type will have the answer. Learn why using upper case got a New Zealand health worker sacked. Refer to Prince in the Tafkap years as a Dingbat (that works on many levels). Spot where movies get their time periods wrong and don’t be duped by fake posters on eBay. Simon Garfield meets the people behind the typefaces and along the way learns why some fonts – like men – are from Mars and some are from Venus. From type on the high street and album covers, to the print in our homes and offices, Garfield is the font of all types of knowledge.

    Classical buildings as widely spaced in time as a Roman temple, an Italian Renaissance palace and a Regency house all show an awareness of these rules even if they vary them, break them or poetically contradict them. Sir Christopher Wren described them as the Latin of architecture and the analogy is almost exact. There is the difference, however, that whereas the learning of Latin is a slow and difficult business, the language of classical architecture is relatively simple. It is still, to a great extent, the mode of expression of our urban surroundings, since classical architecture was the common language of the western world till comparatively recent times. Anybody to whom architecture makes a strong appeal has probably already discovered something of its grammar for himself.In this book, the author's purpose is to set out as simply and vividly as possible the exact grammatical workings of this architectural language. He is less concerned with its development in Greece and Rome than with its expansion and use in the centuries since the Renaissance. He explains the vigorous discipline of the orders and the scope of rustication; the dramatic deviations of the Baroque and, in the last chapter, the relationship between the classical tradition and the modern architecture of today. The book is intended for anybody who cares for architecture but more specifically for students beginning a course in the history of architecture, to whom a guide to the classical rules will be an essential companion.

    She explores far-flung destinations and captures the essence of each in small details, exotic color palettes, exquisite textures, and traditional crafts. Along the way, she shows readers how to incorporate these elements into interiors and how to replicate the ideas in their own spaces. Overflowing with imaginative ideas from across the globe with breathtaking photos of each destination accompanied by examples of gorgeous real-life interiors, plus tips for applying the looks at home Nomad promises to serve as the ultimate lookbook for designers and wanderers the world over.