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A polemical look at how architectural knowledge is produced, disseminated, and received. The essays collected in this groundbreaking volume address the current state of architecture as an academic and professional discipline. Often critical of the current paradigm, these essays offer a provocative challenge to accepted assumptions about the production, dissemination,(...)
Architectural Theory
January 2001, Minneapolis
The discipline of architecture
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A polemical look at how architectural knowledge is produced, disseminated, and received. The essays collected in this groundbreaking volume address the current state of architecture as an academic and professional discipline. Often critical of the current paradigm, these essays offer a provocative challenge to accepted assumptions about the production, dissemination, and reception of architectural knowledge. Contributors: Sherry Ahrentzen, Stanford Anderson, Carol Burns, W. Russell Ellis, Thomas Fisher, Linda N. Groat, Kay Bea Jones, David Leatherbarrow, A. G. Krishna Menon, Garth Rockcastle, Michael Stanton, Sharon Egretta Sutton, David J. T. Vanderburgh, and Donald Watson.
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January 2001, Minneapolis
Architectural Theory
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Eccentric spaces
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Like all of Robert Harbison's works, "Eccentric Spaces" is a hybrid, informed by the author's interests in art, architecture, fiction, poetry, landscape, geography, history, and philosophy. The subject is the human imagination and the mysterious interplay between the (...)
Eccentric spaces
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Like all of Robert Harbison's works, "Eccentric Spaces" is a hybrid, informed by the author's interests in art, architecture, fiction, poetry, landscape, geography, history, and philosophy. The subject is the human imagination and the mysterious interplay between the imagination and the spaces it has made for itself to live in: gardens, rooms, buildings, streets, museums and maps, fictional topographies, and architectures. The book is a lesson in seeing and sensing the manifold forms created by the mind for its own pleasure. Palaces and haunted houses, Victorian parlors, Renaissance sculpture gardens, factories, hill-towns, ruins, cities, even novels and paintings constructed around such environments: these are the spaces over which the author broods. Brilliantly learned, deliberately remote in form from conventional scholarship, "Eccentric Spaces" is a magical book, an intellectual adventure, a celebration. Originally published in 1977.
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April 2000, Cambridge, Mass.
Architectural Theory
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Disciple, ami et associé de le Corbusier, André Wogenscky a mis en pratique sa vision d'une architecture active, vivante, puisant ses formes dans la vie de l'homme et de son milieu physique à travers ses nombreuses constructions.
André Wogenscky : raisons profondes de la forme
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Disciple, ami et associé de le Corbusier, André Wogenscky a mis en pratique sa vision d'une architecture active, vivante, puisant ses formes dans la vie de l'homme et de son milieu physique à travers ses nombreuses constructions.
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October 2000, Paris
Architectural Theory
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The architect and theorist Walter Curt Behrendt (1884-1945) worked on public housing and urban development as a designer and administrator for the German government after World War I. From 1925 to 1926 he edited the journal "Die Form" for the German Werkbund (...)
The victory of the new building style
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The architect and theorist Walter Curt Behrendt (1884-1945) worked on public housing and urban development as a designer and administrator for the German government after World War I. From 1925 to 1926 he edited the journal "Die Form" for the German Werkbund and led an articulate and well-orchestrated campaign in support of the Modern Movement. A friend and colleague of Lewis Mumford, he immigrated in 1934 to the United States, where he taught courses on city planning and housing at Dartmouth College and the University of Buffalo. "The Victory of the New Building Style" (1927)—his principal theoretical work in German and the precursor to Modern Building, which he wrote in English—presents a revisionist conception of style that places equal emphasis on form and function. Behrendt calls for architects to return to basic geometries and to articulate explicitly the new social and economic realities. Now available in English for the first time, this incisive treatise boldly advocates international modernism to the general public. Introduction by Detlef Mertins and translation by Harry Francis Mallgrave
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January 2000, Los Angeles
Architectural Theory
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Although both are central to architecture, siting and construction are often treated as separate domains. In "Uncommon Ground", David Leatherbarrow illuminates their relationship, focusing on the years between 1930 and 1960, when utopian ideas about the role of technology in (...)
Architectural Theory
October 2000, Cambridge, Mass.
Uncommon ground : architecture, technology, and topography
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Although both are central to architecture, siting and construction are often treated as separate domains. In "Uncommon Ground", David Leatherbarrow illuminates their relationship, focusing on the years between 1930 and 1960, when utopian ideas about the role of technology in building gave way to an awareness of its disruptive impact on cities and culture. He examines the work of three architects, Richard Neutra, Antonin Raymond, and Aris Konstantinidis, who practiced in the United States, Japan, and Greece respectively. Leatherbarrow rejects the assumption that buildings of the modern period, particularly those that used the latest technology, were designed without regard to their surroundings. Although the prefabricated elements used in the buildings were designed independent of siting considerations, architects used these elements to modulate the environment. Leatherbarrow shows how the role of walls, the traditional element of architectural definition and platform partition, became less significant than that of the platforms themselves, the floors, ceilings, and intermediate levels. He shows how frontality was replaced by the building's four-sided extension into its surroundings, resulting in frontal configurations previously characteristic of the back. Arguing that the boundary between inside and outside was radically redefined, Leatherbarrow challenges cherished notions about the autonomy of the architectural object and about regional coherence. Modern architectural topography, he suggests, is an interplay of buildings, landscapes, and cities, as well as the humans who use them. The conflict between technological progress and cultural continuity, Leatherbarrow claims, exists only in theory, not in the real world of architecture. He argues that the act of building is not a matter of restoring regional identity by re-creating familiar signs, but of incorporating construction into the process of topography's perpetual becoming.
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October 2000, Cambridge, Mass.
Architectural Theory
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Foreword by Arthur Drexler. Introduction by Vincent Scully. First published in 1966, this book has become a reference in architectural literature. "Complexity and contradiction in architecture" expresses the postmodern rebellion against the purism of modernism. Three hundred and fifty architectural photographs serve as historical comparisons and illuminate the author's(...)
Complexity and contradiction in architecture
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Foreword by Arthur Drexler. Introduction by Vincent Scully. First published in 1966, this book has become a reference in architectural literature. "Complexity and contradiction in architecture" expresses the postmodern rebellion against the purism of modernism. Three hundred and fifty architectural photographs serve as historical comparisons and illuminate the author's ideas on creating and experiencing architecture.
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June 2002, New York
Architectural Theory
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A serious effort to document the changing landscape in the design professions and to make this information available to various constituencies and stakeholder groups as part of an effort to educate as well as bridge the gap between academia and practice.
Reconfiguration in the study and practice of design and architecture
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A serious effort to document the changing landscape in the design professions and to make this information available to various constituencies and stakeholder groups as part of an effort to educate as well as bridge the gap between academia and practice.
Architectural Theory
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According to Paul Shepheard, architecture is the rearranging of the world for human purposes. Sculpture, machines, and landscapes are all architecture -- every bit as much as buildings are. In his writings, Shepheard examines old assumptions about architecture and replaces the critical theory of the academic with the active theory of the architect-citizen enamored of the(...)
Artificial love : a story of machines and architecture
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According to Paul Shepheard, architecture is the rearranging of the world for human purposes. Sculpture, machines, and landscapes are all architecture -- every bit as much as buildings are. In his writings, Shepheard examines old assumptions about architecture and replaces the critical theory of the academic with the active theory of the architect-citizen enamored of the world around him. Artificial Love weaves together three stories about architecture into one. The first, about machines as architecture, leads to speculations about technology and the human condition and to the assertion that machines are the sculptures of today. The second story is about the ways that architecture reflects the tribal and personal desires of those who make it. In the West, ideas of community, multiculturalism, and globalization compete furiously, leaving architecture to exist as it always has, as the past in the present. The third story features individual people experiencing their lives in the context of architecture. Here, Shepheard borrows the rhetorical device of Shakespeare's seven ages of man to propose that each person's life imitates the accumulating history of the human species. Shepheard's version of the history of humans is a technological one, in which machines become sculpture and sculpture becomes architecture. For Shepheard, our machines do not separate us from nature. Rather, our technology is our nature, and we cannot but be in harmony with nature. The change that we have wrought in the world, he says, is a wonderful and powerful thing.
Architectural Theory
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The architectural drawing might seem to be a quintessentially modern form, and indeed many histories of the genre begin in the early modern period with Italian Renaissance architects such as Alberti. Yet the Middle Ages also had a remarkably sophisticated way of drawing and writing about architecture. ''God’s own language'' takes us to twelfth-century Paris, where a(...)
God's own language: Architectural drawing in the twelfth century
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The architectural drawing might seem to be a quintessentially modern form, and indeed many histories of the genre begin in the early modern period with Italian Renaissance architects such as Alberti. Yet the Middle Ages also had a remarkably sophisticated way of drawing and writing about architecture. ''God’s own language'' takes us to twelfth-century Paris, where a Scottish monk named Richard of Saint Victor, along with his mentor Hugh, developed an innovative visual and textual architectural language. In the process, he devised techniques and terms that we still use today, from sectional elevations to the word “plan.” Surprisingly, however, Richard’s detailed drawings appeared not in an architectural treatise but in a widely circulated set of biblical commentaries. Seeing architecture as a way of communicating with the divine, Richard drew plans and elevations for such biblical constructions as Noah’s ark and the temple envisioned by the prophet Ezekiel. Interpreting Richard and Hugh’s drawings and writings within the context of the thriving theological and intellectual cultures of medieval Paris, Karl Kinsella argues that the popularity of these works suggests that, centuries before the Renaissance, there was a large circle of readers with a highly developed understanding of geometry and the visual language of architecture.
Architectural Theory
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In ''Vitruvius: Writing the body of architecture,'' Indra Kagis McEwen argued that Vitruvius's first-century BCE treatise ''De architectura'' was informed by imperial ideology, giving architecture a role in the imperial Roman project of world rule. In her sequel, ''All the King's Horses,'' McEwen focuses on the early Renaissance reception of Vitruvius's thought beginning(...)
All the king's horses: Vitruvius in an age of princes
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In ''Vitruvius: Writing the body of architecture,'' Indra Kagis McEwen argued that Vitruvius's first-century BCE treatise ''De architectura'' was informed by imperial ideology, giving architecture a role in the imperial Roman project of world rule. In her sequel, ''All the King's Horses,'' McEwen focuses on the early Renaissance reception of Vitruvius's thought beginning with Petrarch—a political reception preoccupied with legitimating existing power structures. During this ''age of princes'' various signori took over Italian towns and cities, displacing independent communes and their avowed ideal of the common good. Architects, taking up Vitruvius's mantle, designed buildings and other structures for these princes with the intent of celebrating and making their power manifest. Through meticulous descriptions of the work of architects and artists from Alberti to Leonardo, McEwen explains how architecture became an instrument of control in the early Italian Renaissance. She shows how architectural magnificence supported claims to power, a phenomenon best displayed in one of the era's most prominent monumental themes: the equestrian statue of a prince, in which the horse became an emanation of the will of the rider, its strength the expression of his strength.
Architectural Theory