It presents a broad spectrum of subjects and designs, with practical experience and evaluation of the use of these buildings serving as a leitmotif. This immensely successful book has gone through many reprints and has also been published in Japanese, German, Italian, Portuguese, Taiwanese, Dutch, Greek, Chinese, French, Polish and Persian. More than 750 illustrations give a broad insight into Hertzberger's 'library' and a stimulating impression of the influences and sources of inspiration of one of the Netherlands' major postwar architects.

    From this theoretical standpoint he seeks to establish a link between modern architecture and reality as a source of inspiration. The volume is a valid instrument that permits the reader to interpret and compare modes considered central to modern design: the relationship between man and space (presence), design and its instruments (language) and architecture in its relationship to the landscape (place). Numerous examples of modern and ancient architecture and urban and landscape systems (Paris, Urbino, Jerusalem) strengthen and exemplify the theoretical notions, further supplementing them with a rich collection of images.

    Extensively and beautifully illustrated, the book includes photos, plans, scales for world-famous structures such as the Parthenon, Versailles, the Brooklyn Bridge, and many others."

    Why is glass see-through? What makes elastic stretchy? Why does a paper clip bend? Why does any material look and behave the way it does? These are the sorts of questions that Mark Miodownik a globally-renowned materials scientist has spent his life exploring In this book he examines the materials he encounters in a typical morning, from the steel in his razor and the graphite in his pencil to the foam in his sneakers and the concrete in a nearby skyscraper.

    Martin as source material for Game of Thrones, comes a classic book on innovation and technological change in medieval EuropeIn this account of Europe’s rise to world leadership in technology, Frances and Joseph Gies show how early modern technology and experimental science were direct outgrowths of the decisive innovations of medieval Europe, in the tools and techniques of agriculture, craft industry, metallurgy, building construction, navigation, and war. The Gieses report that many of Europe’s most important inventions—the horse harness, the stirrup, the magnetic compass, cotton and silk cultivation and manufacture, papermaking, firearms, and “Arabic” numerals—had their origins outside Europe, in China, India, and the Middle East. Europe synthesized its own innovations—the three-field system, water power in industry, the full-rigged ship, the putting-out system—into a powerful new combination of technology, economics, and politics.

    This book offers a fresh perspective on various developments shaping our cultural history.

    By the following April, the book was finished. Titled The Seven Lamps of Architecture, it was far more than a treatise on the Gothic style; instead, it elaborated Ruskin's deepest convictions of the nature and role of architecture and its aesthetics. The book was published to immediate acclaim and has since become an acknowledged classic.The "seven lamps" are Sacrifice, Truth, Power, Beauty, Life, Memory, and Obedience. In delineating the relationship of these terms to architecture, Ruskin distinguishes between architecture and mere building. Architecture is an exalting discipline that must dignify and ennoble public life. It must preserve the purity of the materials it uses; and it must serve as a source of power and renewal for the society that produces it. The author expounds these and many other ideas with exceptional passion and knowledge, expressed in a masterly prose style.Today, Ruskin's timeless observations are as relevant as they were in Victorian times, making The Seven Lamps of Architecture required reading for architects, students, and other lovers of architecture, who will find in these pages a thoughtful and inspiring approach to one of man's noblest endeavors.This authoritative edition includes excellent reproductions of the 14 original plates of Ruskin's superb drawings of architectural details from such structures as the Doge's Palace in Venice, Giotto's Campanile in Florence, and the Cathedral of Rouen.

    Like its highly successful companion volumes, Art in Theory, 1815–1900 and Art in Theory, 1900–1990, its primary aim is to provide students and teachers with the documentary material for informed and up-to-date study. Its 240 texts, clear principles of organization and considerable editorial content offer a vivid and indispensable introduction to the art of the early modern period.Harrison, Wood, and Gaiger have collected writing by artists, critics, philosophers, literary figures, and administrators of the arts, some reprinted in their entirety, others excerpted from longer works. A wealth of material from French, German, Italian, Spanish, Dutch, and Latin sources is also provided, including many new translations.Among the major themes treated are early arguments over the relative merits of ancient and modern art, debates between the advocates of form and color, the beginnings of modern art criticism in reviews of the Salon, art and politics during the French Revolution, the rise of landscape painting, and the artistic theories of Romanticism and Neo-classicism.Each section is prefaced by an essay that situates the ideas of the period in their historical context, while relating theoretical concerns and debates to developments in the practice of art. Each individual text is also accompanied by a short introduction. An extensive bibliography and full index are provided.

    Kundig's projects, especially his houses, uniquely combine these two seemingly disparate sets of characteristics to produce some of the most inventive structures found in the architecture world today. Kundig's internationally acclaimed work is inspired by both the industrial structures with which he grew up in the Pacific Northwest and the vibrant craft cultures that are fostered there. His buildings uniquely meld industrial sensibilities and materials such as Cor-ten steel and concrete with an intuitive understanding of scale. As Kundig states, "The idea is insaperable from the fabrication, inseparable from the materials used."Tom Kundig: Houses presents five projects in depth, from their early conceptual sketches to their final lovingly wrought, intimate details. Kundig's houses reflect a sustained and active collaborative process between designer, craftsmen, and owners, resulting in houses that bring to life the architect's intentions, the materials used, and lines of unforgettable beauty.

    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.

    How Buildings Learn is a masterful new synthesis that proposes that buildings adapt best when constantly refined and reshaped by their occupants, and that architects can mature from being artists of space to becoming artists of time. From the connected farmhouses of New England to I.M. Pei's Media Lab, from "satisficing" to "form follows funding," from the evolution of bungalows to the invention of Santa Fe Style, from Low Road military surplus buildings to a High Road English classic like Chatsworth—this is a far-ranging survey of unexplored essential territory.More than any other human artifacts, buildings improve with time—if they're allowed to. How Buildings Learn shows how to work with time rather than against it.

    This ninth edition covers both analytical and empirical approaches to the subject. The examples and templates provide students with resources for computer-numerical solutions.

    At its beginnings in the 1870s were dynamite, the telephone, photographic film, and the first light bulbs. Its peak decade - the astonishing 1880s - brought electricity - generating plants, electric motors, steam turbines, the gramophone, cars, aluminum production, air-filled rubber tires, and prestressed concrete. And its post-1900 period saw the first airplanes, tractors, radio signals and plastics, neon lights and assembly line production. This book is a systematic interdisciplinary account of the history of this outpouring of European and American intellect and of its truly epochal consequences. It takes a close look at four fundamental classes of these epoch-making innovations: formation, diffusion, and standardization of electric systems; invention and rapid adoption of internal combustion engines; the unprecedented pace of new chemical syntheses and material substitutions; and the birth of a new information age. These chapters are followed by an evaluation of the lasting impact these advances had on the 20th century, that is, the creation of high-energy societies engaged in mass production aimed at improving standards of living.

    A country of “yellow fever” victimsAs the elitist image of the Aquino regime permeated society as a whole, its propaganda experts began to shape the political landscape as well, and transformed most of the unsuspecting citizens into consumers of its own brand of illiberal democracy symbolized by the yellow banner, the yellow ribbon, and the yellow confetti.Arillo’s Greed & Betrayal relived the events that marked the Aquino regime’s bungled presidency and how it systematically and repeatedly blamed Marcos, Enrile, Honasan, Laurel, Mitra, and others as the all-purpose excuse to hide its own incompetence, failures, and perfidy.This book also inspired the writing of Arillo's latest book, A Country Imperiled: Tragic Lessons of a Distorted History.

    Frida Ramstedt believes in thinking about how we decorate, rather than focusing on what we decorate with. We know more today than ever before about design trends, furniture, and knickknacks, and now Frida familiarizes readers with the basic principles behind interior and styling--what looks good and, most of all, why it looks good.The Interior Design Handbook teaches you general rules of thumb--like what the golden ratio and the golden spiral are, the proper size for a coffee table in relation to your sofa, the optimal height to hang lighting fixtures, and the best ways to use a mood board--complete with helpful illustrations. Use The Interior Design Handbook to achieve a balanced, beautiful home no matter where you live or what your style is.