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.

    It also relates to…Meaning in Western Architecture. Common to all of them is the view that architecture represents a means to give man an “existential foothold”…The philosophy of Heidegger has been the catalyst which has made the present book possible and determined its approach. The wish for understanding architecture as a concrete phenomenon…could be satisfied in the present book…thanks to Heidegger’s essays on language and aesthetics.Man dwells when he can orient himself within and identify himself with an environment, or, in short, when he experiences the environment as meaningful. Dwelling therefore implies something more than “shelter”. It implies that the spaces where life occurs are places, in the true sense of the word. A place is a space which has a distinct character. Since ancient times the genius loci, or “spirit of place”, has been recognized as the concrete reality man has to face and come to terms with in his daily life. Architecture means to visualize the genius loci, and the task of the architect is to create meaningful places, whereby he helps man to dwell.

    The pieces in this volume show him to be at times playful, more serious at other, but writing always with the lightest of touches. He had the keenest of eyes for the 'infra-ordinary', the things we do every day - eating, sleeping, working - and the places we do them in without giving them a moment's thought. But behind the lightness and humour, there is also the sadness of a French Jewish boy who lost his parents in the Second World War and found comfort in the material world around him, and above all in writing.This volume contains a selection of Georges Perec's non-fiction works, along with a charming short story, 'The Winter Journey'. It also includes notes and an introduction describing Perec's life and career.

    Changing the function of a word, or a room, can produce surprise and meaning. In How to Architect, Patt--an architect and the creator of a series of wildly popular online videos about architecture--presents the basics of architecture in A-Z form, starting with A is for Asymmetry (as seen in Chartres Cathedral and Frank Gehry), detouring through N is for Narrative, and ending with Z is for Zeal (a quality that successful architects tend to have, even in fiction--see The Fountainhead's architect-hero Howard Roark.)How to Architect is a book to guide you on the road to architecture. If you are just starting on that journey or thinking about becoming an architect, it is a place to begin. If you are already an architect and want to remind yourself of what drew you to the profession, it is a book of affirmation. And if you are just curious about what goes into the design and construction of buildings, this book tells you how architects think. Patt introduces each entry with a hand-drawn letter, and accompanies the text with illustrations that illuminate the concept discussed: a fallen Humpty Dumpty illustrates the perils of fragile egos; photographs of an X-Acto knife and other hand tools remind us of architecture's nondigital origins.How to Architect offers encouragement to aspiring architects but also mounts a defense of architecture as a profession--by calling out a defiant verb: architect!

    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.

    From the marketing of a “make do and mend” aesthetic to the growing nostalgia for a utopian past that never existed, a cultural distraction scam prevents people grasping the truth of their condition. The Ministry of Nostalgia explodes the creation of a false history: a rewriting of the austerity of the 1940s and 1950s, which saw the development of a welfare state while the nation crawled out of the devastations of war. This period has been recast to explain and offer consolation for the violence of neoliberalism, an ideology dedicated to the privatisation of our common wealth. In coruscating prose—with subjects ranging from Ken Loach’s documentaries, Turner Prize–shortlisted video art, London vernacular architecture, and Jamie Oliver’s cooking—Hatherley issues a passionate challenge to the injunction to keep calm and carry on.

    His structural thinking differs from that of others in his field, in its completely innovative conception of the engineer's contribution to architecture. The plasticity of architectural plans is enhanced through a decisive promotion of their structural designs. The borderline between structure and architecture thus becomes increasingly blurred. This process is explained in detail in "Informal" by reference to eight seminal projects. Balmond elucidates the theoretical basis of his engineering and architectural solutions, and his sketches transcend purely technical illustration - they are key to his approach. "Informal" invites readers to rethink their understanding of the relationships between architecture, design and engineering.

    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.

    The present volume is an unabridged English translation of the 13th French edition of that historic manifesto, in which Le Corbusier expounded his technical and aesthetic theories, views on industry, economics, relation of form to function, the "mass-production spirit," and much else. A principal prophet of the "modern" movement in architecture, and a near-legendary figure of the "International School," he designed some of the twentieth century's most memorable buildings: Chapel at Ronchamp; Swiss dormitory at the Cité Universitaire, Paris; Unité d'Habitation, Marseilles; and many more.Le Corbusier brought great passion and intelligence to these essays, which present his ideas in a concise, pithy style, studded with epigrammatic, often provocative, observations: "American engineers overwhelm with their calculations our expiring architecture." "Architecture is stifled by custom. It is the only profession in which progress is not considered necessary." "A cathedral is not very beautiful . . ." and "Rome is the damnation of the half-educated. To send architectural students to Rome is to cripple them for life."Profusely illustrated with over 200 line drawings and photographs of his own works and other structures he considered important, Towards a New Architecture is indispensable reading for architects, city planners, and cultural historians―but will intrigue anyone fascinated by the wide-ranging ideas, unvarnished opinions, and innovative theories of one of this century's master builders.

    A brief examination of the theory and practice of Renaissance architecture that draws attention to the values underlying this style

    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.

    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.

    The creator of the Barcelona Pavilion (1929), the Farnsworth House in Plano, Illinois (1945?1951) and the Seagram Building in New York (1954?1958), Mies was one of the founders of a new architectural style. Well known for his motto ?less is more, ? he sought a kind of refined purity in architectural expression that was not seen in the reduced vocabulary of other Bauhaus members. His goal was not simply building for those of modest income (Existenzminimum) but building economically in terms of sustainability, both in a technical and aesthetical way; the use of industrial materials such as steel and glass were the foundation of this approach. Though the extreme reduction of form and material in his work garnered some criticism, over the years many have tried?mostly unsuccessfully?to copy his original and elegant style. This book explores more than 20 of his projects between 1906 and 1967, from his early work around Berlin to his most important American buildings. Basic Architecture features: ? Each title contains approximately 120 images, including photographs, sketches, drawings, and floor plans ? Introductory essays explore the architect's life and work, touching on family and background as well as collaborations with other architects ? The body presents the most important works in chronological order, with descriptions of client and/or architect wishes, construction problems (why some projects were never executed), and resolutions ? The appendix includes a list of complete or selected works, biography, bibliography and a map indicating the locations ofthe architect's most famous buildings

    The program, which concentrated on the Los Angeles area and oversaw the design of 36 prototype homes, sought to make available plans for modern residences that could be easily and cheaply constructed during the postwar building boom. The program's chief motivating force was Arts Architecture editor John Entenza, a champion of modernism who had all the right connections to attract some of architecture's greatest talents, such as Richard Neutra, Charles and Ray Eames, and Eero Saarinen. Highly experimental, the program generated houses that were designed to re-define the modern home, and thus had a pronounced influence on architecture. With comprehensive documentation, brilliant photographs from the period and, for the houses still in existence, contemporary photos, floor plans and sketches.

    Never before had the functional requirements and expressive capacities of architecture been tested so thoroughly and with such diversity of invention. Bergdoll traces this experimentation in a broad range of contexts, focusing in particular on the relation of architectural design to new theories of history, new categories of scientific inquiry, and the broadening audience for architecture in this period of transformation. Unlike traditional surveys with long lists of buildings and architects, the themes are elucidated by in-depth coverage of key buildings which in turn are situated in both their local and European context.