Ransacking the urban planning of the grand imperial past, it set out to transform everyday life, its sweeping boulevards, epic high-rise and vast housing estates an emphatic declaration of a non-capitalist idea. Now, the regimes that built them are dead and long gone, but from Warsaw to Berlin, Moscow to post-Revolution Kiev, the buildings, their most obvious legacy, remain, populated by people whose lives were scattered and jeopardized by the collapse of communism and the introduction of capitalism.Landscapes of Communism is an intimate history of twentieth-century communist Europe told through its buildings; it is, too, a book about power, and what power does in cities. In exploring what that power was, Hatherley shows how much we can understand from surfaces - especially states as obsessed with surface as the Soviets were. Walking through these landscapes today, Hatherley discovers how, in contrast to the common dismissal of 'monolithic' Soviet architecture, these cities reflect with disconcerting transparency the development of an idea over the decades, with its sharp, sudden zigzags of official style: from modernism to classicism and back; to the superstitious despotic rococo of high Stalinism, with its jingoistic memorials, palaces and secret policemen's castles; East Germany's obsession with prefabricated concrete panels; and the metro systems of Moscow and Prague, a spectacular vindication of public space that went further than any avant garde ever dared.But most of all, Landscapes of Communism is a revelatory journey of discovery, plunging us into the maelstrom of socialist architecture. As we submerge into the metros, walk the massive, multi-lane magistrale and pause at milk bars in the microrayons, who knows what we might find?

    From Brazil to Venezuela, and from Mexico to Argentina, McGuirk discovers the people and ideas shaping the way cities are evolving. Ever since the mid twentieth century, when the dream of modernist utopia went to Latin America to die, the continent has been a testing ground for exciting new conceptions of the city. An architect in Chile has designed a form of social housing where only half of the house is built, allowing the owners to adapt the rest; Medellín, formerly the world’s murder capital, has been transformed with innovative public architecture; squatters in Caracas have taken over the forty-five-story Torre David skyscraper; and Rio is on a mission to incorporate its favelas into the rest of the city. Here, in the most urbanised continent on the planet, extreme cities have bred extreme conditions, from vast housing estates to sprawling slums. But after decades of social and political failure, a new generation has revitalised architecture and urban design in order to address persistent poverty and inequality. Together, these activists, pragmatists and social idealists are performing bold experiments that the rest of the world may learn from.Radical Cities is a colorful journey through Latin America—a crucible of architectural and urban innovation.

    Jane Holtz Kay provides a history of the rapid spread of the automobile and documents the huge subsidies commanded by the highway lobby, to the detriment of once-efficient forms of mass transportation. Demonstrating that there are economic, political, architectural, and personal solutions to the problem, she shows that radical change is entirely possible. This book is essential reading for everyone interested in the history of our relationship with the car, and in the prospect of returning to a world of human mobility.

    His pioneering study is informed by the conviction that color is a contingent, historical occurrence whose meaning, like language, lies in the particular contexts in which it is experienced and interpreted.Gage covers topics as diverse as the optical mixing techniques implicit in mosaic; medieval color-symbolism; the equipment of the manuscript illuminator's workshop, the color languages and color practices of Latin America at the time of the Spanish Conquest; the earliest history of the prism; and the color ideas of Goethe and Runge, Blake and Turner, Seurat and Matisse.From the perspective of the history of science, Gage considers the bearing of Newton's optical discoveries on painting, the chemist Chevreul's contact with painters and the growing interest of experimental psychologists in the topic of color in the late nineteenth century, particularly in relation to synaesthesia. He includes an invaluable overview of the twentieth-century literature that bears on the historical interpretation of color in art. Gage's explorations further extend the concepts he addressed in his prize-winning book, Color and Culture.

    Because no one can be an expert on everything, designers have always had to scramble to find the information and know-how required to make a design work - until now. Universal Principles of Design is the first cross-disciplinary reference of design. Richly illustrated and easy to navigate, this book pairs clear explanations of the design concepts featured with visual examples of those concepts applied in practice. From the 80/20 rule to chunking, from baby-face bias to Ockham's razor, and from self-similarity to storytelling, 100 design concepts are defined and illustrated for readers to expand their knowledge.This landmark reference will become the standard for designers, engineers, architects, and students who seek to broaden and improve their design expertise.

    Here is a clear and enthusiastic introduction to buildings methods from ancient times to the present day, including recent advances in science and technology that have had important effects on the planning and construction of buildings: improved materials (steel, concrete, plastics), progress in antiseismic designs, and the revolutionary changes in both architectural and structural design made possible by the computer.

    

    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.

    By combining millions of data points with stunning design, they investigate how flights stack over Heathrow, who lives longest, and where Londoners love to tweet. The result? One hundred portraits of an old city in a very new way.

    Author John Gallagher, who has covered urban redevelopment for the Detroit Free Press for two decades, spent a year researching what is going on in Detroit precisely because of its open space and the dire economic times we face. Instead of presenting another account of the city's decline, Reimagining Detroit: Opportunities for Redefining an American City showcases the innovative community-building work happening in the city and focuses on what else can be done to make Detroit leaner, greener, and more economically self-sufficient. Gallagher conducted numerous interviews, visited community projects, and took many of the photographs that accompany the text to uncover some of the strategies that are being used, and could be used in the future, to make twenty-first century Detroit a more sustainable and desirable place to live. Some of the topics Gallagher discusses are urban agriculture, restoring vacant lots, reconfiguring Detroit's overbuilt road network, and reestablishing some of the city's original natural landscape. He also investigates new models for governing the city and fostering a more entrepreneurial economy to ensure a more stable political and economic future. Along the way, Gallagher introduces readers to innovative projects that are already under way in the city and proposes other models for possible solutions-from as far away as Dresden, Germany, and Seoul, South Korea, and as close to home as Philadelphia and Youngstown-to complement current efforts. Ultimately, Gallagher helps to promote progressive ideas and the community leaders advancing them and offers guidance for other places dealing with the shrinking cities phenomenon. Readers interested in urban studies and environmental issues will enjoy the fresh perspective of Reimagining Detroit.

    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.

    Most people don't want to think about what happens when the oil runs out (or becomes prohibitively expensive). This title shows how the inevitable and profound changes ahead can have a positive effect.

    Many of these small details are so obvious as to be invisible.

    In this authoritative and engagingly written account, the acclaimed urbanist and bestselling author examines the evolution of urban life over the millennia and, in doing so, attempts to answer the age-old question: What makes a city great?Despite their infinite variety, all cities essentially serve three purposes: spiritual, political, and economic. Kotkin follows the progression of the city from the early religious centers of Mesopotamia, the Indus Valley, and China to the imperial centers of the Classical era, through the rise of the Islamic city and the European commercial capitals, ending with today's post-industrial suburban metropolis.Despite widespread optimistic claims that cities are "back in style," Kotkin warns that whatever their form, cities can thrive only if they remain sacred, safe, and busy-and this is true for both the increasingly urbanized developing world and the often self-possessed "global cities" of the West and East Asia.Looking at cities in the twenty-first century, Kotkin discusses the effects of developments such as shifting demographics and emerging technologies. He also considers the effects of terrorism-how the religious and cultural struggles of the present pose the greatest challenge to the urban future.Truly global in scope, The City is a timely narrative that will place Kotkin in the company of Lewis Mumford, Jane Jacobs, and other preeminent urban scholars.

    The depth below is hot, much warmer than the surface and this book tunnels down through the geological layers, meeting the creatures that dwell in darkness, real and fictional -- rats and eels, monsters and ghosts. There is a bronze-age trackway under the Isle of Dogs, Wren found Anglo-Saxon graves under St Paul's, and the monastery of Whitefriars lies beneath Fleet Street. In Kensal Green cemetery there was a hydraulic device to lower bodies into the catacombs below -- "Welcome to the lower depths". A door in the plinth of statue of Boadicea on Westminster Bridge leads to a huge tunnel, packed with cables -- gas, water, telephone. When the Metropolitan Line was opened in 1864 the guards asked for permission to grow beards to protect themselves against the sulphurous fumes, and called their engines by the names of tyrants -- Czar, Kaiser, Mogul -- and even Pluto, god of the underworld.Going under London is to penetrate history, to enter a hidden world. "The vastness of the space, a second earth," writes Peter Ackroyd, "elicits sensations of wonder and of terror. It partakes of myth and dream in equal measure."