This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work. Synopsis Learning from Las Vegas created a healthy controversy on its appearance in 1972, calling for architects to be more receptive to the tastes and values of "common" people and less immodest in their erections of "heroic," self-aggrandizing monuments. This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work. About Author: Biography Steven Izenour (1940-2001)

    The book is a part of a broader research project by Bruce Mau Design intended to provoke debate and discussion about the future of design culture, broadly defined as the "familiar objects and techniques that are transforming our lives." In essays, interviews, and provocative imagery aimed at a broad audience, Massive Change explores the changing force of design in the contemporary world, and in doing so expands the definition of design to include the built environment, transportation technologies, revolutionary materials, energy and information systems, and living organisms. The book is divided into 11 heavily illustrated sections covering major areas of change in contemporary society — such as urbanism and architecture, the military, health and living, and wealth and politics. Each section intersperses intriguing documentary images with a general introductory essay, extended captions, and interviews with leading thinkers, including engineers, designers, philosophers, scientists, architects, artists, and writers. Concluding the book is a graphic timeline of significant inventions and world events from 10,000 B.C. to the present.

    Until now, however, his ideas have circulated mostly among a professional audience of architects, city planners, and academics. In The Architecture of Community, Krier has reconsidered and expanded writing from his 1998 book Architecture: Choice or Fate. Here he refines and updates his thinking on the making of sustainable, humane, and attractive villages, towns, and cities. The book includes drawings, diagrams, and photographs of his built works, which have not been widely seen until now. With three new chapters, The Architecture of Community provides a contemporary road map for designing or completing today’s fragmented communities. Illustrated throughout with Krier’s original drawings, The Architecture of Community explains his theories on classical and vernacular urbanism and architecture, while providing practical design guidelines for creating livable towns. The book contains descriptions and images of the author’s built and unbuilt projects, including the Krier House and Tower in Seaside, Florida, as well as the town of Poundbury in England. Commissioned by the Prince of Wales in 1988, Krier’s design for Poundbury in Dorset has become a reference model for ecological planning and building that can meet contemporary needs.

    James Wines puts up the various - and often irreconcilable - concepts of environmentally-friendly architecture for discussion, making a case for an architecture that not only focuses on technological solutions, but also tries to reconcile man and nature in its formal idiom. Among the examples of contemporary ecological architecture presented are works by Emilio Ambasz, Gustav Peichl, Arthur Quarmby, Jean Nouvel, Sim Van der Ryn, Jourda and Perraudin, Log ID, James Cutler, Stanley Saitowitz, Fran ois Roche, Nigel Coates and Michael Sorkin.

    Bachelard takes us on a journey, from cellar to attic, to show how our perceptions of houses and other shelters shape our thoughts, memories, and dreams."A magical book. . . . The Poetics of Space is a prism through which all worlds from literary creation to housework to aesthetics to carpentry take on enhanced-and enchanted-significances. Every reader of it will never see ordinary spaces in ordinary ways. Instead the reader will see with the soul of the eye, the glint of Gaston Bachelard." -from the new foreword by John R. Stilgoe

    Far from a dry, nuts-and-bolts exposition, however, 101 THINGS I LEARNED® IN ENGINEERING SCHOOL probes real-world examples to show how the engineer's way of thinking can-and sometimes cannot-inform our understanding of how things work. Questions from the simple to the profound are illuminated throughout: Why shouldn't soldiers march across a bridge? Why do buildings want to float and cars want to fly? What is the difference between thinking systemically and thinking systematically? How can engineering solutions sympathize with the natural environment? Presented in the familiar, illustrated format of the popular 101 THINGS I LEARNED® series, 101 THINGS I LEARNED® IN ENGINEERING SCHOOL offers an informative resource for students, general readers, and even experienced engineers, who will discover within many provocative new insights into familiar principles.

    

    He identifies a “global style” of architecture—as practiced by Norman Foster, Richard Rogers and Renzo Piano—analogous to the international style of Le Corbusier, Gropius and Mies. More than any art, today’s global style conveys both the dreams and delusions of modernity. Foster demonstrates that a study of the “art-architecture complex” provides invaluable insight into broader social and economic trajectories in urgent need of analysis.From the Trade Paperback edition.

    But Olmsted's contemporaries knew a man of even more extraordinarily diverse talents. Born in 1822, he traveled to China on a merchant ship at the age of twenty-one. He cofounded The Nation magazine and was an early voice against slavery. He managed California's largest gold mine and, during the Civil War, served as the executive secretary to the United States Sanitary Commission, the precursor of the Red Cross.Rybczynski's passion for his subject and his understanding of Olmsted's immense complexity and accomplishments make his book a triumphant work. In A Clearing in the Distance, the story of a great nineteenth-century American becomes an intellectual adventure.

    The result: more than thirty-five residences in fifteen countries -- and nearly every conceivable natural environment -- designed by a combination of star architects and heretofore unknown practitioners.Six different climactic zones are presented in The Green House -- waterfront, forest and mountain, tropical, desert, suburban, and urban; there is also a section on mobile dwellings. Each chapter features a series of homes that show the diversity and possibility of sustainable design. Projects are presented with large color images, plans, drawings, and an accompanying text that describes their green features and explains how they work with and in the environment.Architects included: Santiago Calatrava, Shigeru Ban, Miller/Hull, Rick Joy, Lake Flato, Kengo Kuma, Glenn Murcutt, Pugh & Scarpa, Werner Sobek, and many others.The Green House is not only a beautiful object in its own right, but is sure to be an indispensable reference for anyone building or interested in sustainable design -- and if you ask us, that should be everyone.

    In this book, Mari Grinde Arntzen asks how and why this is—how can fashion simultaneously attract us to its glamour and repel us with its superficiality and how being called “fashionable” can be at once a compliment and an insult. Arntzen guides us through the major figures and brands of today’s fashion industry, showing how they shape us and in turn why we love to be shaped by them. She examines both everyday, affordable “fast fashion” brands, as well as the luxury market, to show how fashion commands a powerful influence on every socioeconomic level of our society. Stepping into our closets with us, she thinks about what happens when we get dressed: why fashion can make us feel powerful, beautiful, and original at the same time that it forces us into conformity. Stripping off the layers of the world’s fifth largest industry, garment by garment, she holds fashion up as a phenomenon, business, and art, exploring the questions it forces us to ask about the body, image, celebrity, and self-obsession. Ultimately, Arntzen asks the most direct question: what is fashion? How has it taken such a powerful hold on the world, forever propelling us toward its concepts of beauty?

    When Brooke and Steve Giannetti decided to leave their suburban Santa Monica home to build a new life on a farm, they looked into themselves, and traveled to Belgium and France, for inspiration. Brooke’s inviting prose combines with 200 photographs and Steve’s architectural drawings to show their inspirations, their materials selections, and the enviable result of their team effort and creativity: an idyllic farm in California’s Ojai Valley. We see every corner of the family home, guesthouse, lush gardens, and delightful animal quarters. Steve Giannetti is a renowned architect, and Brooke is an interior decorator and writer of the design blog Velvet and Linen. They also own Giannetti Home, a store that sells furniture and products for the home in their signature Patina style. The couple’s work has been featured in the Veranda, Coastal Living, Good Housekeeping, the New York Times. They are the authors of Patina Style.

    These are tough questions for the pushers of technology to answer. Our economic system is centered on technology, so it would be no small matter if tech ceased to be an end-in-itself in our daily lives. Technology is not going to go away, but the time to discuss the end it will serve is before we deploy it, not after. We need to ask what purpose will be served by the broadband communications, smart materials, wearable computing, and connected appliances that we're unleashing upon the world. We need to ask what impact all this stuff will have on our daily lives. Who will look after it, and how?In the Bubble is about a world based less on stuff and more on people. Thackara describes a transformation that is taking place now--not in a remote science fiction future; it's not about, as he puts it, the schlock of the new but about radical innovation already emerging in daily life. We are regaining respect for what people can do that technology can't. In the Bubble describes services designed to help people carry out daily activities in new ways. Many of these services involve technology--ranging from body implants to wide-bodied jets. But objects and systems play a supporting role in a people-centered world. The design focus is on services, not things. And new principles--above all, lightness--inform the way these services are designed and used. At the heart of In the Bubble is a belief, informed by a wealth of real-world examples, that ethics and responsibility can inform design decisions without impeding social and technical innovation.

    It is also a book they may want to keep out of view of their professors, for it expresses in clear and simple language things that tend to be murky and abstruse in the classroom. These 101 concise lessons in design, drawing, the creative process, and presentation--from the basics of "How to Draw a Line" to the complexities of color theory--provide a much-needed primer in architectural literacy, making concrete what too often is left nebulous or open-ended in the architecture curriculum. Each lesson utilizes a two-page format, with a brief explanation and an illustration that can range from diagrammatic to whimsical. The lesson on "How to Draw a Line" is illustrated by examples of good and bad lines; a lesson on the dangers of awkward floor level changes shows the television actor Dick Van Dyke in the midst of a pratfall; a discussion of the proportional differences between traditional and modern buildings features a drawing of a building split neatly in half between the two. Written by an architect and instructor who remembers well the fog of his own student days, 101 Things I Learned in Architecture School provides valuable guideposts for navigating the design studio and other classes in the architecture curriculum. Architecture graduates--from young designers to experienced practitioners--will turn to the book as well, for inspiration and a guide back to basics when solving a complex design problem.

    Holl reveals his working methods in this book, part treatise, part manifesto, and part, as Holl writes, "liner notes" to fifteen of his projects. Parallax traces Holl's ideas on topics as diverse as the "chemistry of matter" and the "pressure of light," and shows how they emerge in his architectural work: "criss-crossing" at the Kiasma Museum of Contemporary Art in Helsinki, "duration" in the Palazzo del Cinema in Venice, "correlational programming" in the Makuhari housing in Japan. The result is a book that provides a personal tour of the work of one of the world's most esteemed architects. Parallax is designed by Michael Rock of the award-winning design firm 2x4.