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See below for a selection of the latest books from Theory of architecture category. Presented with a red border are the Theory of architecture books that have been lovingly read and reviewed by the experts at Lovereading. With expert reading recommendations made by people with a passion for books and some unique features Lovereading will help you find great Theory of architecture books and those from many more genres to read that will keep you inspired and entertained. And it's all free!
The dynamic relationship between art and theology continues to fascinateand tochallenge, especially when theology addresses art in all of its variety. In Architecture and Theology: The Art of Place , author Murray Raeturns tothe spatial arts, especially architecture, to investigate how the art forms engaged in theconstruction of our built environment relateto Christian faith. Rae does not offer a theology of the spatial arts, but instead engages in a sustained theological conversation with the spatial arts. Because the spatial artsare public,visual, and communal, they wield an immense but easily overlookedinfluence. Architecture and Theology overcomes this inattention by offering new ways of thinking about the theological importance of space and place in our experience of God, the relation between freedom and law in Christian life, the transformation involved in God's promised new creation, biblical anticipation of the heavenly city, divine presence and absence, the architecture of repentance and remorse, and the relation between space and time. In doing so, Rae finds an ample place for theologyamidst the architectural arts.
Christopher Alexander's four volume masterwork, the result of twenty-seven years of research, considers three vital perspectives: a scientific perspective; a perspective based on beauty and grace; a commonsense perspective based on intuitions and everyday life. This ground breaking work allows us to form one picture of the world in which all three perspectives are interlaced. It opens the door to twenty-first century science and cosmology. The four volumes can be read separately, independently, and in any order, however, it is together that they have their greatest impact as each one informs and illuminates the others.
We do not see empty figures and outlines; we do not move in straight lines. Everywhere we are surrounded by dapple; the geometry of our embodied lives is curviform, meandering, bi-pedal. Our personal worlds are timed, inter-positional, and contingent. But nowhere in the language of cartography and design do these ordinary experiences appear. This, Dark Writing argues, is a serious omission because they are designs on the world: architects and colonizers use their lines to construct the places where we will live. How can we explain the omission of bodies from maps and plans?
Using the analytical perspectives of architecture, comparative literature, and cultural studies, the essays in the book examine the role of memory in the creation of our built environment. Part I examines the ways institutions and individuals construct national memory. Eric Sandweiss discusses American urban history museums; Mark Jarzombek addresses the reconstruction of Dresden, Germany; Fernando Lara contrasts Brazilian modern architecture to earlier European modernism; and Maria de Lourdes Luz and Ana Lucia Santos look at Brazilian history through the prism of the coffee plantation system. Part II focuses on the treatment of place in literature. Sabir Khan spotlights the experiences of two South Asian women who return to their homelands after several years abroad to discover changes in their native landscape. Barbara Mann explores the Old Cemetry in Tel Aviv, while Carel Bertram considers images of the Turkish house, and Eleni Bastea examines the cities of Thessaloniki and Istanbul as reflected in literary novels. Part III comprises three personal essays: Catherine Hamel on Beirut, Christine Gorby on Belfast, and V B Price on Los Angeles and Albuquerque. 'The Voices from the Studio' in Part IV considers the ways memory may apply to the teaching of architecture. Thomas Fisher writes about the state of architectural education, Rachel Hurst and Jane Lawrence describe their teaching methods. Sheona Thomson examines the relationship between the spaces of architecture and the spaces of literature asking, Why couldn't we be drawn more often into learning about architecture by studying how it has been painted by Giotto, or described by Virginia Woolf, or, for that matter, by being asked to reflect on our own recollections of place?
The essays in The Hand and the Soul explore the question of how ethical ideas guiding the design process - a concern for the environment or for social justice - relate to the beauty of our buildings, cities, and artworks. The book presents a range of viewpoints and does not ignore the perils of an easy association of ethics and aesthetics. Yet, the majority of contributors, among them historians, theorists, as well practicing designers and artists, argue passionately in defense of the idea that the good and the beautiful can and should be able to find a common ground in the design disciplines.The book begins with an exploration of recent difficulties in pairing ethics and aesthetics. Can one effect a philosophical convergence of these elements, or is it dangerous to conflate moral and aesthetic terms? The discussion continues with considerations of the overlap that occurs between the fine arts and the design disciplines, the intersection of aesthetic theory and practice with sustainability and environmental science, and the concept of 'open works' - projects whose design processes are flexible, nonhierarchical, and attuned to the unique features of a particular place or cultural situation. The book concludes with a look at several contrasting ideas developed in the essays and examines ethics as a desire for community, as well as a sense of responsibility, an obligation to contemplate not only what buildings offer us but also what they may take away.In juxtaposing the work of historians and theorists with that of practicing designers and artists, The Hand and the Soul , whose title is drawn from an essay by American artist Philip Guston, seeks to bridge the divide between theory and practice, between abstract ethical or aesthetic concepts and practical ways of making tangible artifacts. In a field dominated by esoteric studies and, at the other extreme, primarily illustrated works, The Hand and the Soul offers a vital discussion that is at once theoretically rigorous and grounded in the practice of art, architecture, landscape architecture, and urbanism.
This book provides an introduction to the principles of environmental performance in architecture. It explores the way aspects of the built environment are experienced by the occupants, and how that experience is interpreted in architectural design. The first chapter concentrates both on the relationships between architecture and the human body and architecture and the environment. This chapter develops the idea of architecture as a filter between the human body and the natural environment, and the various environmental conditions which are altered (intentionally or otherwise) by the construction of building fabric. The book then considers the way this 'passive' filtration has become supplemented by various forms of technology or active control - especially electric lighting and air-conditioning. This establishes a basic framework for the subsequent chapters to investigate the various forms of energy and matter - heat, light, sound, air and water - and the way they are controlled using active and passive systems. The penultimate chapter introduces basic concepts of fire safety in buildings, whilst the final chapter investigates some of the implications and future directions for sustainable architecture. The book is ideal for use by undergraduate architecture students undertaking architectural technology, science or design courses.
Whatever 'ugliness' is, it remains a problematic category in architectural aesthetics - alternately vilified and appropriated, either to shock or to invert conventions of architecture. This book presents eighteen new essays which rethink ugliness in architecture - from brutalism to eclectic postmodern architectural productions - and together offer a diverse reappraisal of the history and theory of postmodern architecture and design. The essays address both broad theoretical questions on ugliness and postmodern aesthetics, as well as more specific analyses of significant architectural examples dating from the last decades of the twentieth century, addressing the relation between the aesthetic register of ugliness and aesthetic concepts such as brutalism, kitsch, the formless, ad hoc-ism, the monstrous, or the grotesque. Architecture and Ugliness not only documents the history of a postmodern anti-aesthetic through a diverse set of case studies, it also sheds valuable light on an aesthetic problem which has been largely overlooked in architectural discourse. It is essential reading for all students and scholars with an interest in postmodern architectural history, architectural theory and aesthetics.
Come with us for a moment out onto the porch. Just like that, we've entered another world without leaving home. In this liminal space, an endless array of absorbing philosophical questions arises: What does it mean to be in a place? How does one place teach us about the world and ourselves? What do we-and the things we've built-mean in this world? In a time when reflections on the nature of society and individual endurance are so paramount, Charlie Hailey's latest book is both a mental tonic and a welcome provocation. Solidly grounded in ideas, ecology, and architecture, The Porch takes us on a journey along the edges of nature where the outside comes in, hosts meet guests, and imagination runs wild. Hailey writes from a modest porch on the Homosassa River in Florida. He sleeps there, studies the tides, listens for osprey and manatee, welcomes shipwrecked visitors, watches shadows on its screens, reckons with climate change, and reflects on his own acclimation to his environment. The profound connections he unearths anchor an armchair exploration of past porches and those of the future, moving from ancient Greece to contemporary Sweden, from the White House roof to the Anthropocene home. In his ruminations, he links up with other porch dwellers including environmentalist Rachel Carson, poet Wendell Berry, writers Eudora Welty and Zora Neale Hurston, philosopher John Dewey, architect Louis Kahn, and photographer Paul Strand. As close as architecture can bring us to nature, the porch is where we can learn to contemplate anew our evolving place in a changing world-a space we need now more than ever. Timeless and timely, Hailey's book is a dreamy yet deeply passionate meditation on the joy and gravity of sitting on the porch.