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)

    This almost overwhelming accumulation of words and images illuminates the condition of architecture today--its splendors and miseries--exploring and revealing the corrosive effects of politics, context, the economy, and globalization. In some ways, this is the "Medium is the Message" of 1990s architectural discourse: guaranteed to be hugely influential in the coming decades, but grossly misunderstood by those who have not read it. The core arguments it makes about metropolitan architecture--accepting complexity and lack of centralized control--are similar to those of Kevin Kelly's Out of Control: The New Biology of Machines, Social Systems and the Economic World. Very highly recommended.

    From teacups, riding boots, golf balls, and underwater sculpture to the villas of Palladio and the fish-feeding pavilion of the Peking Winter Palace, the author ranges over the less-familiar byways of designing excellence.At one time, writes Rasmussen, "the entire community tool part in forming the dwellings and implements they used. The individual was in fruitful contact with these things; the anonymous houses were built with a natural feeling for place, materials and use and the result was a remarkably suitable comeliness. Today, in our highly civilized society, the houses which ordinary people are doomed to live in and gaze upon are on the whole without quality. We cannot, however, go back to the old method of personally supervised handicrafts. We must strive to advance by arousing interest in and understanding of the work the architect does. The basis of competent professionalism is a sympathetic and knowledgeable group of amateurs, of non-professional art lovers."

    Worldwide in scope, it combines a clear historical outline with masterly analysis and interpretation. Technical, economic, social and intellectual developments are brought together in a comprehensive narrative which provides a setting for the detailed examination of buildings. Throughout the book the author's focus is on the individual architect, and on the qualities that give outstanding buildings their lasting value.For the third edition, the text has been radically revised and expanded, incorporating much new material and a fresh appreciation of regional identity and variety. Seven chapters are entirely new, including expanded coverage of recent world architecture.Described by James Ackerman of Harvard University as "immeasurably the finest work covering this field in existence", this book presents a penetrating analysis of the modern tradition and its origins, tracing the creative interaction between old and new that has generated such an astonishing richness of architectural forms across the world and throughout the century.

    the quality of the connections is the key to quality per se.- Charles Eames... everything hangs on something else.- Ray EamesNothing says modernist perfection like an Eames design. Though they are best known to the general public for their furniture, the husband and wife duo of Charles and Ray Eames (1907-78 and 1912-88, respectively) were also forerunners in the fields of architecture, industrial design, photography, and film. This book covers all the aspects of their illustrious career, from the earliest furniture experiments and molded plywood designs to the Case Study Houses to their work for Herman Miller and films such as the seminal short, Powers of Ten.

    The Architecture of Happiness starts from the idea that where we are heavily influences who we can be, and it argues that it is architecture's task to stand as an eloquent reminder of our full potential.Whereas many architects are wary of openly discussing the word beauty, this book has at its center the large and naïve question: What is a beautiful building? It is a tour through the philosophy and psychology of architecture that aims to change the way we think about our homes, our streets and ourselves.

    Gropius traces the rise of the New Architecture and the work of the now famous Bauhaus and, with splendid clarity, calls for a new artist and architect educated to new materials and techniques and directly confronting the requirements of the age.

    Expanding upon the wealth of illustrations and information that have made this title a classic, this Fourth Edition provides expanded and updated coverage of drawing materials, multiview drawings, paraline drawings, and perspective drawings. Also new to this edition is the author's unique incorporation of digital technology into his successful methods. While covering essential drawing principles, this book presents: approaches to drawing section views of building interiors, methods for drawing modified perspectives, techniques for creating accurate shade and shadows, expert styles of freehand sketching and diagramming, and much more.

    Heatherwick is known as one of the greatest innovators of our era, and for the first time, this publication provides an inside look at the creation and development of his projects. It answers the one question always asked of Heatherwick's work: How did he do that? The book covers the studio's complete output over more than fifteen years—some 170 projects—including designs large and small: zippered bags that can be expanded to five times their size, a bridge that rolls open and closed, the in-progress one-million-square-foot mall in Hong Kong and glass bridge in London.

    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.

    Lynch, supported by studies of Los Angeles, Boston, and Jersey City, formulates a new criterion -- imageability -- and shows its potential value as a guide for the building and rebuilding of cities. The wide scope of this study leads to an original and vital method for the evaluation of city form. The architect, the planner, and certainly the city dweller will all want to read this book.

    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.

    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.

    John Wilson, the work of Martin Heidegger has proved of great interest to architects and architectural theorists.The first introduction to Heidegger's philosophy written specifically for architects and students of architecture introduces key themes in his thinking, which has proved highly influential among architects as well as architectural historians and theorists. This guide familiarizes readers with significant texts and helps to decodes terms as well as providing quick referencing for further reading.This concise introduction is ideal for students of architecture in design studio at all levels; students of architecture pursuing undergraduate and postgraduate courses in architectural theory; academics and interested architectural practitioners. Heidegger for Architects is the second book in the new Thinkers for Architects series.

    His influential work spans many practices over a 23-year period, from music packaging to installation work to printmaking. Here, he reveals his personal notebooks, photographs, sketches, and abandoned routes to iconic Radiohead artworks. Arranged chronologically, each chapter is dedicated to a major work—whether an album cover, promotional piece, or a personal project—and is presented as a step-by-step working case study. Featuring commentary by Thom Yorke and never-before-seen archival material, this is the first deep dive into Donwood’s creative practice and the artistic freedom afforded to him by working for a major music act. It is a must-have for fans of the band and anyone interested in graphic design and popular culture.