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.

    His work spans some sixty years and includes original work on a diverse range of subjects, from dialectical materialism to architecture, urbanism and the experience of everyday life. The Production of Space is his major philosophical work and its translation has been long awaited by scholars in many different fields. The book is a search for a reconciliation between mental space (the space of the philosophers) and real space (the physical and social spheres in which we all live). In the course of his exploration, Henri Lefebvre moves from metaphysical and ideological considerations of the meaning of space to its experience in the everyday life of home and city. He seeks, in other words, to bridge the gap between the realms of theory and practice, between the mental and the social, and between philosophy and reality. In doing so, he ranges through art, literature, architecture and economics, and further provides a powerful antidote to the sterile and obfuscatory methods and theories characteristic of much recent continental philosophy. This is a work of great vision and incisiveness. It is also characterized by its author's wit and by anecdote, as well as by a deftness of style which Donald Nicholson-Smith's sensitive translation precisely captures.

    In Vertical, Stephen Graham rewrites the city at every level: how the geography of inequality, politics, and identity is determined in terms of above and below. Starting at the edge of earth's atmosphere and, in a series of riveting studies, descending through each layer, Graham explores the world of drones, the city from the viewpoint of an aerial bomber, the design of sidewalks and the hidden depths of underground bunkers. He asks: why was Dubai built to be seen from Google Earth? How do the super-rich in Sao Paulo live in their penthouses far above the street? Why do London billionaires build vast subterranean basements? And how do the technology of elevators and subversive urban explorers shape life on the surface and subsurface of the earth? Vertical will make you look at the world around you anew: this is a revolution in understanding your place in the world.

    In these essays Peter Zumthor expresses his motivation in designing buildings, which speak to our emotions and understanding in so many ways, and possess a powerful and unmistakable presence and personality. This book, whose first edition has been out of print for years, has been expanded to include three new essays: "Does Beauty Have a Form?," "The Magic of the Real," and "Light in the Landscape." It has been freshly illustrated throughout with new color photographs of Zumthor's new home and studio in Haldenstein, taken specially for this edition by Laura Padgett, and received a new typography by Hannele Gronlund.

    With over ninety illustrations, this book traces the history of the chair as we know it from its crudest beginnings up through the modern office variety. Drawing on anecdotes, literary references, and famous designs, Galen Cranz documents our ongoing love affair with the chair and how its evolution has been governed not by a quest for comfort or practicality, but by the designation of status.Relating much of the modern era's rampant back pain to an increasingly sedentary lifestyle spent in traditional seating, Cranz goes beyond traditional ergonomic theory to formulate new design principles that challenge the way we think and live. A farsighted and innovative approach to our most intimate habitat, this book offers guidelines that will assist readers in choosing a chair-and designing a lifestyle-that truly suits our bodies. Praise for The Chair:  "[A] concise, multidisciplinary gem."—Publishers Weekly "Cranz is no sedentary historian. The Chair is a call to action."—Jonathan Levi, Los Angeles Times "Galen Cranz has written a provocative book. Pull up a comfortable chair-if you can find one-and read it."—Witold Rybczynski

    You'll never see the city the same way again.At the core of A Burglar's Guide to the City is an unexpected and thrilling insight: how any building transforms when seen through the eyes of someone hoping to break into it. Studying architecture the way a burglar would, Geoff Manaugh takes readers through walls, down elevator shafts, into panic rooms, up to the buried vaults of banks, and out across the rooftops of an unsuspecting city.With the help of FBI Special Agents, reformed bank robbers, private security consultants, the L.A.P.D. Air Support Division, and architects past and present, the book dissects the built environment from both sides of the law. Whether picking padlocks or climbing the walls of high-rise apartments, finding gaps in a museum's surveillance routine or discussing home invasions in ancient Rome, A Burglar's Guide to the City has the tools, the tales, and the x-ray vision you need to see architecture as nothing more than an obstacle that can be outwitted and undercut.Full of real-life heists-both spectacular and absurd-A Burglar's Guide to the City ensures readers will never enter a bank again without imagining how to loot the vault or walk down the street without planning the perfect getaway.

    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.

    He shows that such an adaptive process will be successful only if it proceeds piecemeal instead of all at once. It is for this reason that forms from traditional un-self-conscious cultures, molded not by designers but by the slow pattern of changes within tradition, are so beautifully organized and adapted. When the designer, in our own self-conscious culture, is called on to create a form that is adapted to its context he is unsuccessful, because the preconceived categories out of which he builds his picture of the problem do not correspond to the inherent components of the problem, and therefore lead only to the arbitrariness, willfulness, and lack of understanding which plague the design of modern buildings and modern cities.In the second part, Mr. Alexander presents a method by which the designer may bring his full creative imagination into play, and yet avoid the traps of irrelevant preconception. He shows that, whenever a problem is stated, it is possible to ignore existing concepts and to create new concepts, out of the structure of the problem itself, which do correspond correctly to what he calls the subsystems of the adaptive process. By treating each of these subsystems as a separate subproblem, the designer can translate the new concepts into form. The form, because of the process, will be well-adapted to its context, non-arbitrary, and correct.The mathematics underlying this method, based mainly on set theory, is fully developed in a long appendix. Another appendix demonstrates the application of the method to the design of an Indian village.

    Spanning from 3,500 B.C.E. to the present, this unique guide is written by an all-star team of architectural experts in their fields who emphasize the connections, contrasts, and influences of architectural movements throughout history. The architectural history of the world comes to life through a unified framework for interpreting and understanding architecture, supplemented by rich drawings from the renowned Frank Ching as well as brilliant photographs. Architecture and art history enthusiasts will find A Global History of Architecture perpetually at their fingertips.

    This title shows a wide variety of interior details and describes how to add or restore elements that suggest a historic flair while keeping the home comfortable and functional.

    Kahn, whose many buildings include the Salk Institute, the Yale Study Center, and the Exeter Library. He is remembered, however, not only as a master builder, but also as one of the most important and creative thinkers of the twentieth century. For Kahn, the study of architecture was the study of human beings, their highest aspirations and most profound truths. He searched for forms and materials to express the subtlety and grandeur of life. In his buildings we see the realization of his vision: luminous surfaces that evoke a fundamental awe, silent courtyards that speak of the expansiveness and the sanctity of the spirit, monumental columns and graceful arches that embody dignity and strength. Updated with a new preface, this classic work is a major statement on human creativity, showing us Louis Kahn as architect, visionary, and poet.

    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.

    Their three individual essays presented in the book, are thematically linked; each one tries to explain the role man's perception plays in architecture and also explores phenomenal accounts. In their original introduction, the authors write: "The endless cultural limitations and contradictions inherent in artistic work, revealed with impeccable clarity and logic by the critics' deconstructive theory, are ultimately of limited use for the generation of architecture. The architect must take a position, one that necessarily has ethical consequences, and for which words, a theoretical discourse is nevertheless indispensable.Bilingually presented in English and Japanese.

    Anthony Vidler interprets contemporary buildings and projects in light of the resurgent interest in the uncanny as a metaphor for a fundamentally unhomely modern condition. The essays are at once historical--serving to situate contemporary discourse in its own intellectual tradition and theoretical--opening up the complex and difficult relationships between politics, social thought, and architectural design in an era when the reality of homelessness and the idealism of the neo-avant-garde have never seemed so far apart.Vidler, one of the deftest and surest critics of the contemporary scene, explores aspects of architecture through notions of the uncanny as they have been developed in literature, philosophy, and psychology from the beginning of the nineteenth century to the present. He interprets the unsettling qualities of today's architecture--its fragmented neo-constructivist forms reminiscent of dismembered bodies, its seeing walls replicating the passive gaze of domestic cyborgs, its historical monuments indistinguishable from glossy reproductions - in the light of modern reflection on questions of social and individual estrangement, alienation, exile, and homelessness.Focusing on the work of architects such as Bernard Tschumi, Rem Koolhaas, Peter Eisenman, Coop Himmelblau, John Hejduk, Elizabeth Diller, and Ricardo Scofidio, as well as theorists of the urban condition, Vidler delineates the problems and paradoxes associated with the subject of domesticity.

    Progressing from the basics into more sophisticated techniques, this guide offers clear instruction on graphic language and the design process, the basics of drafting, lettering, freehand drawing and conceptual diagramming, perspective drawing, section elevations, and more. It also features carefully sequenced exercises, a complete file of graphic symbols for sections and perspectives, and a handy appendix of conversions and equivalents.