The discussion moves systematically through ideas, theories, research and practice of urban design from a wide range of sources. It gradually builds the concepts one upon the other towards a total view of the subject.

    It will enable making a design for almost any kind of building, or any part of the built environment. ‘Patterns,’ the units of this language, are answers to design problems: how high should a window sill be?; how many stories should a building have?; how much space in a neighborhood should be devoted to grass and trees?More than 250 of the patterns in this language are outlined, each consisting of a problem statement, a discussion of the problem with an illustration, and a solution. As the authors say in their introduction, many of the patterns are archetypal, so deeply rooted in the nature of things that it seems likely that they will be a part of human nature and human action as much in five hundred years as they are today.A Pattern Language is related to Alexander’s other works in the Center for Environmental Structure series: The Timeless Way of Building (introductory volume) and The Oregon Experiment.

    Yet residents of compact urban centers, David Owen shows, individually consume less oil, electricity, and water than other Americans. They live in smaller spaces, discard less trash, and, most important of all, spend far less time in automobiles. Residents of Manhattan--the most densely populated place in North America--rank first in public-transit use and last in per-capita greenhouse gas production, and they consume gasoline at a rate that the country as a whole hasn't matched since the mid-1920s, when the most widely owned car in the United States was the Ford Model T. They are also among the only people in the United States for whom walking is still an important means of daily transportation. These achievements are not accidents. Spreading people thinly across the countryside may make them feel green, but it doesn't reduce the damage they do to the environment. In fact, it increases the damage, while also making the problems they cause harder to see and to address. Owen contends that the environmental problem we face, at the current stage of our assault on the world's nonrenewable resources, is not how to make teeming cities more like the pristine countryside. The problem is how to make other settled places more like Manhattan, whose residents presently come closer than any other Americans to meeting environmental goals that all of us, eventually, will have to come to terms with.

     Drawing on his uncommon background and global perspective, in Breaking Ground Daniel Libeskind explores ideas about tragedy and hope, and the way in which architecture can memorialize-and reshape-human experience. Born in 1946 to Holocaust survivors in Poland, Daniel Libeskind eventually emigrated to New York City in 1959. A virtuoso musician before studying architecture, Libeskind has designed iconic buildings around the world, including the Jewish Museum Berlin and the Imperial War Museum in Manchester, England. In February 2003, Libeskind was chosen as the Master Plan Architect for the World Trade Center reconstruction. Full of the vitality, humor, and visionary spark that helped win him the Trade Center Commission, Breaking Ground invites readers to see architecture-and the larger world-through new perspectives.

    Diagnosed with a heart condition at age forty-one, she was all too suddenly reminded that life is short, time is precious, and she wanted to be spending hers with the people and things she truly loved. That included the beautiful sprawling house in the Pacific Northwest she had painstakingly restored—but, increasingly, it did not include the mortgage payments, constant repairs, and general time-suck of home ownership. A new sense of clarity began to take hold: Just what was all this stuff for? Multiple extra rooms, a kitchen stocked with rarely used appliances, were things that couldn’t compare with the financial freedom and the ultimate luxury—time—that would come with downsizing.             Deciding to build an eighty-four-square-foot house—on her own, from the ground up—was just the beginning of building a new life. Williams can now list everything she owns on one sheet of paper, her monthly housekeeping bills amount to about eight dollars, and it takes her approximately ten minutes to clean the entire house. It’s left her with more time to spend with family and friends, and given her freedom to head out for adventure at a moment’s notice, or watch the clouds and sunset while drinking a beer on her (yes, tiny) front porch.             The lessons Williams learned from her “aha” moment post-trauma apply to all of us, every day, regardless of whether or not we decide to discard all our worldly belongings. Part how-to, part personal memoir, The Big Tiny is an utterly seductive meditation on the benefits of slowing down, scaling back, and appreciating the truly important things in life.

    Dense urban living has been prescribed as a panacea for the environmental and resource crises of our time. But is it better or worse for our happiness? Are subways, sidewalks and condo towers an improvement on the car-dependence of sprawl?The award-winning journalist Charles Montgomery finds answers to such questions at the intersection between urban design and the emerging science of happiness, during an exhilarating journey through some of the world’s most dynamic cities. He meets the visionary mayor who introduced a “sexy” bus to ease status anxiety in Bogotá; the architect who brought the lessons of medieval Tuscan hill towns to modern-day New York City; the activist who turned Paris’s urban freeways into beaches; and an army of American suburbanites who have hacked the design of their own streets and neighborhoods.Rich with new insights from psychology, neuroscience and Montgomery’s own urban experiments, Happy City reveals how our cities can shape our thoughts as well as our behavior. The message is as surprising as it is hopeful: by retrofitting cities and our own lives for happiness, we can tackle the urgent challenges of our age. The happy city can save the world--and all of us can help build it.

    In this compact volume, Koolhaas addresses the urban and architectural implications of extra-large construction, using as examples three of OMA's important large-scale projects: the Zeebrugge Ferry Terminal in Belgium, the Tres Grande Bibliotheque in Paris, and the Karlsruhe Center for Art and Media Technology in Germany.Tackling questions about the difficult state of urbanism and modernism in contemporary Europe, America, and Asia, this slim volume forms a concise and coherent explanation of the theories and polemics of Koolhaas and OMA. This beautifully designed book serves as an inexpensive alternative and companion to Koolhaas's recent "S, M, L, XL."

    It also: * Applies the latest passive energy and lighting design research * Organizes information by architectural elements at three scales: * building groups, individual buildings, and building parts * Brings design strategies to life with examples and practical design tools * Features: * 109 analysis techniques and design strategies * More than 750 illustrations, sizing graphs, and tables * Both inch-pound and metric units

    In entirely new photographs taken especially for this book by two leading architectural photographers under the direction of co-editor David Larkin, such internationally famous buildings as the Solomon R. Guggenheim Museum and Fallingwater and Wright's homes Taliesin, Taliesin West, and the Oak Park Home and Studio are seen afresh, benefiting from the photographers' special access. Several lesser-known residences, such as Auldbrass Plantation in South Carolina, an array of wooden buildings that is Wright's American alternative to antebellum architecture, the William H. Winslow house in River Forest, Illinois, one of the architect's earliest and most surprisingly decorative houses, and the Kenneth Laurent house in Rockford, Illinois, a masterful curvilinear design, are seen in full color and demonstrate dimensions of Wright's work less often seen before. Public buildings, such as the dramatic concrete, glass, and steel Marin County Civic Center and Beth Sholom Synagogue show Wright as engineering virtuoso as well as creative architect. In addition to these existing masterworks, only the most famous of which are open to the public, the book covers buildings that have been demolished, notably the Larkin Company Administration Building, Midway Gardens, and the Imperial Hotel, which are represented here by drawings and rich archival photographs. Each of the buildings is presented from conceptual sketch, plan, or drawing to finished masterwork, andeach is accompanied by an in-depth essay detailing the development of the work. Extensive quotes from Wright's writings, unpublished talks, and private letters to the clients give valuable insight into the architect's own thinking about each commission. Never before has Wright's architecture been presented so elaborately in one volume.

    Following the success of their first book, Architecture for Humanity brings readers the next edition, with more than 100 projects from around the world. Packed with practical and ingenious design solutions, this book addresses the need for basic shelter, housing, education, health care, clean water, and renewable energy. One-on-one interviews and provocative case studies demonstrate how innovative design is reimagining community and uplifting lives. From building-material innovations such as smog-eating concrete to innovative public policy that is repainting Brazil’s urban slums, Design Like You Give a Damn [2] serves as a how-to guide for anyone seeking to build change from the ground up.Praise for Design Like You Give a Damn [2]:<!--StartFragment--> “The resourcefulness of the projects in the book is inspiring, its information practical (see Stohr’s chapter on financing sustainable community development) and its numerous factoids sobering.” —TMagazine.blogs.NYTimes.com

    In prose of outstanding immediacy, Jane Jacobs writes about what makes streets safe or unsafe; about what constitutes a neighborhood, and what function it serves within the larger organism of the city; about why some neighborhoods remain impoverished while others regenerate themselves. She writes about the salutary role of funeral parlors and tenement windows, the dangers of too much development money and too little diversity. Compassionate, bracingly indignant, and always keenly detailed, Jane Jacobs's monumental work provides an essential framework for assessing the vitality of all cities.

    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.

    For the DIY enthusiast, here are photos, elevation drawings, and door/window schedules for six Tumbleweed box bungalows, plus an extensive how-to set of instructions that can be applied to any backyard building project. What they are not is home-center garden sheds. Though conventionally built, these handsome little buildings have real doors, windows, and skylights with interesting and practical details throughout. Paint them and finish them to suit your tastes and needs.The term "Box Bungalow" is a trademark of Tumbleweek Tiny House Corp. It refers to their idea of packaging these backyard buildings on a flat skid, for weekend DIY assembly. They'll also sell a prefab building for delivery to your prepared site. They'll also sell complete sets of plans for any of the houses shown in this book.

    You'll see how to survey your home to determine your current household energy efficiency and use, and evaluate where solar power would best benefit you. You'll also calculate what the return on your investment will be before you make any decisions. Once you've decided on a project, you'll see whether it's best to hire a contractor or do it yourself. We leave no stone unturned--you'll also discover how to:Choose and install your best solar system Handle small to large solar projects Heat and cool your house with solar energy Install exterior solar lighting Handle swimming pool, water heater, or ventilation solar projects Create greenhouses or solar rooms Build, buy, or sell a solar home Finance your solar investments Take advantage of tax rebates and incentives associated with solar power Avoid the worst solar mistakes Featuring ten of the easiest and cheapest do-it-yourself solar projects, Solar Power For Dummies is the fun and easy way to meet your energy needs with this clean power source!

    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.