With more than 200 illustrations, all prepared by the author, along with analysis and statistics, Great Streets offers a wealth of information on street dimensions, plans, sections, and patterns of use, all systematically compared. It also reveals Jacobs's eye for the telling human and social details that bring streets and communities to life.An extensive introduction discusses the importance of streets in creating communities and criteria for identifying the best streets. The essays that follow examine 15 particularly fine streets, ranging from medieval streets in Rome and Copenhagen to Venice's Grand Canal, from Parisian boulevards to tree-lined residential streets in American cities. Jacobs also looks at several streets that were once very fine but are less successful today, such as Market Street in San Francisco, identifying the factors that figure in their decline.To broaden his coverage, Jacobs adds briefer treatments of more than 30 other streets arranged by street type, including streets from Australia, Japan, and classical antiquity in addition to European and North American examples. For each of these streets he has prepared plans, sections, and maps, all drawn at the same scales to facilitate comparisons, along with perspective views and drawings of significant design details.Another remarkable feature of this book is a set of 50 one square-mile maps, each reproduced at the same scale, of the street plans of representative cities around the world. These reveal much about the texture of the cities' street patterns and hence of their urban life. Jacobs's analysis of the maps adds much original data derived from them, including changes of street patterns over time.Jacobs concludes by summarizing the practical design qualities and strategies that have contributed most to the making of great streets.

    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.

    The descriptive method is based on seven guided visits to a group of real or imaginary houses that make up a sufficiently extended panorama for understanding what the 20th century has bequeathed to us by way of a heritage. In short, this book takes the reader on a fantasy tour, one whose aim is not just to celebrate the diversity of the 20th-century house but also to stimulate the pleasure of thinking, planning and living intensely, to promote the appearance of a house that does not yet exist.

    In Designing Design, he impresses upon the reader the importance of emptiness in both the visual and philosophical traditions of Japan, and its application to design, made visible by means of numerous examples from his own work: Hara for instance designed the opening and closing ceremony programs for the Nagano Winter Olympic Games 1998. In 2001, he enrolled as a board member for the Japanese label MUJI and has considerably moulded the identity of this successful corporation as communication and design advisor ever since. Kenya Hara, alongside Naoto Fukasawa one of the leading design personalities in Japan, has also called attention to himself with exhibitions such as Re-Design: The Daily Products of the 21st Century.

    As a result, we face both a dire emergency and a tremendous opportunity. At their best, our modern cities are hubs of human connection, fountains of creativity, and exemplars of green living. Yet at the same time, they still suffer the symptoms of industrial urbanization: pollution, crowding, crime, social fragmentation, and dehumanization. Now is the time to envision what cities can be and to transform them. This book, produced in partnership with the Atlantic Cities, celebrates 12 promising, provocative responses to this challenge, in realms ranging from transportation to food to art. It asks and begins to answer: How can we transform cities to be sustainable, efficient, beautiful, and invigorating to the human soul? And practically speaking, how do we get from here to there?

    Here, walking is seen as an autonomous form of art, a primary act in the symbolic transformation of the territory, an aesthetic instrument of knowledge and a physical transformation of the "negotiated" space, which is converted into an urban intervention. From primitive nomadism to Dada and Surrealism, from the Lettrist to the Situationist International, and from minimalism to Land Art, this book narrates the perception of landscape through a history of the traversed city.

    Nearly every important development in the modern architectural movement began with the proclamation of these convictions in the form of a program or manifesto. The most influential of these are collected here in chronological order from 1903 to 1963. Taken together, they constitute a subjective history of modern architecture; compared with one another, their great diversity of style reveals in many cases the basic differences of attitude and temperament that produced a corresponding divergence in architectural style. In point of view, the book covers the aesthetic spectrum from right to left; from programs that rigidly generate designs down to the smallest detail to revolutionary manifestoes that call for anarchy in building form and town plan. The documents, placed in context by the editor, are also international in their range: among them are the seminal and prophetic statements of Henry van de Velde, Adolf Loos, and Bruno Taut from the early years of the century; Frank Lloyd Wright's 1910 annunciation of Organic Architecture; Gropius's original program for the Bauhaus, founded in Weimar in 1919; Towards a New Architecture, Guiding Principles by Le Corbusier; the formulation by Naum Gabo and Antoine Pevsner of the basic principles of Constructivism; and articles by R. Buckminster Fuller on universal architecture and the architect as world planner. Other pronouncements, some in flamboyant style, including those of Erich Mendelsohn, Hannes Meyer, Theo van Doesburg, Oskar Schlemmer, Ludwig Mies van der Rohe, El Lissitzky, and Louis I. Kahn. There are also a number of collective or group statements, issued in the name of movements such as CIAM, De Stijl, ABC, the Situationists, and GEAM.Since the dramatic effectiveness of the manifesto form is usually heightened by brevity and conciseness, it has been possible to reproduce most of the documents in their entirety; only a few have been excerpted.

    'Townscape' is the art of giving visual coherence and organization to the jumble of buildings, streets and space that make up the urban environment. It has been a major influence on architects, planners and others concerned with what cities should look like.

    From the expanse of the metropolis to the detail of the window box, they address the pressing challenges of urban development with easy-to-follow advice and broad array of best practices.With their landmark book Suburban Nation, Andres Duany and Jeff Speck set forth more clearly than anyone has done in our time the elements of good town planning (The New Yorker). With this long-awaited companion volume, the authors have organized the latest contributions of new urbanism, green design, and healthy communities into a comprehensive handbook, fully illustrated with the built work of the nation's leading practitioners. The Smart Growth Manual is an indispensable guide to city planning. This kind of progressive development is the only way to fully restore our economic strength and create new jobs, new industries, and a renewed ability to compete in the first rank of world economies. -- Gavin Newsom, Mayor of San FranciscoAuthors Andres Duany, Jeff Speck, and Mike Lydon have created The Smart Growth Manual, a resource which not only explains the overarching ideals of smart growth, but a manual that takes the time to show smart growth principles at each geographic scale (region, neighborhood, street, building). I highly recommend [it] as a part of any community participant's or urban planner's desktop references. -- LocalPlan.orgPlanetizen Top 10 Books - 2010 On the ninth annual list of the ten best books in urban planning, design and development: The goal of The Smart Growth Manual is clear from page 1: to create a guidebook for smart growth following the pattern of the Charter for New Urbanism. Duany, Speck and Lydon have achieved that in spades (the Charter is included in the appendix, in case we missed the connection). It even clears up some of the architectural arguments that attach themselves to New Urbanists, such as this segment of Section 14.1, Regional Design; 'While new buildings should not be compelled to mimic their historic predecessors, designers should pay attention to local practices regarding materials and colors, roof pitches, eave lengths, window-to-wall ratios, and the socially significant relationship of buildings to their site and the street; these have usually evolved in intelligent response to local conditions.' In addition to making the old 'traditional vs. modern' argument irrelevant, Duany, Speck and Lydon have truly managed to boil down the best parts of current practices into a highly readable, portable book.

    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.

    Even if you don't immediately recognize his name, you have almost certainly used one of the radios, clocks, lighters, juicers, shelves or hundreds of other products he designed. He is famous not only for this vast array of well-formed products, but for his remarkably prescient ideas about the correct function of design in the messy, out-of-control world we inhabit today. These ideas are summed up in his 'ten principles' of good design: good design is innovative, useful, and aesthetic. Good design should be make a product easily understood. Good design is unobtrusive, honest, durable, thorough, and concerned with the environment. Most of all, good design is as little design as possible.In that spirit, this monograph is as little book as possible. It is a clear, comprehensive and beautiful presentation of Dieter Rams' life and his work. It is a must-have book for anyone interested in Rams' work, his legacy, and his ideas about how to live.

    They had packed up their family in Vancouver, BC, and moved to Delft to experience the biking city as residents rather than as visitors. A year earlier they had become unofficial ambassadors for Dutch cities with the publication of their first book Building the Cycling City: The Dutch Blueprint for Urban Vitality.   In Curbing Traffic: The Human Case for Fewer Cars in Our Lives, Melissa and Chris Bruntlett chronicle their experience living in the Netherlands and the benefits that result from treating cars as visitors rather than owners of the road. They weave their personal story with research and interviews with experts and Delft locals to help readers share the experience of living in a city designed for people.   In the planning field, little attention is given to the effects that a “low-car” city can have on the human experience at a psychological and sociological level. Studies are beginning to surface that indicate the impact that external factors—such as sound—can have on our stress and anxiety levels. Or how the systematic dismantling of freedom and autonomy for children and the elderly to travel through their cities is causing isolation and dependency.   In Curbing Traffic, the Bruntletts explain why these investments in improving the built environment are about more than just getting from place to place more easily and comfortably. The insights will help decision makers and advocates to better understand and communicate the human impacts of low-car cities: lower anxiety and stress, increased independence, social autonomy, inclusion, and improved mental and physical wellbeing.   The book is organized around the benefits that result from thoughtfully curbing traffic, resulting in a city that is: child-friendly, connected, trusting, feminist, quiet, therapeutic, accessible, prosperous, resilient, and age-friendly.   Planners, public officials, and citizen activists should have a greater understanding of the consequences that building for cars has had on communities (of all sizes). Curbing Traffic provides relatable, emotional, and personal reasons why it matters and inspiration for exporting the low-car city.

    William Mitchell makes extensive use of practical examples and illustrations in a technically well-grounded yet accessible examination of architecture and urbanism in the context of the digital telecommunications revolution, the ongoing miniaturization of electronics, the commodification of bits, and the growing domination of software over materialized form.

    Finally available in English, this unrivaled example of Panofsky's early method places him within broader developments in theories of knowledge and cultural change.Here, drawing on a massive body of learning that ranges over ancient philosophy, theology, science, and optics as well as the history of art, Panofsky produces a type of "archaeology" of Western representation that far surpasses the usual scope of art historical studies.Perspective in Panofsky's hands becomes a central component of a Western "will to form," the expression of a schema linking the social, cognitive, psychological, and especially technical practices of a given culture into harmonious and integrated wholes. He demonstrates how the perceptual schema of each historical culture or epoch is unique and how each gives rise to a different but equally full vision of the world.Panofsky articulates these distinct spatial systems, explicating their particular coherence and compatibility with the modes of knowledge, belief, and exchange that characterized the cultures in which they arose. Our own modernity, Panofsky shows, is inseparable from its peculiarly mathematical expression of the concept of the infinite, within a space that is both continuous and homogenous.

    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.