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Building-Art is an anthology of essays by noted critic Joseph Masheck. Considering topics in nineteenth- and twentieth-century architecture, its theory and practice, as well as selected achievements by such great modernists as Le Corbusier, Ludwig Mies van der Rohe and Louis Kahn, Masheck also analyses important monuments and architectural ideas of such artists as Giorgio di Chirico and Tony Smith. Contextualising and culturally speculative, these studies address such issues as the distinction between architecture and 'mere' building, and architecture and engineering, frequently drawing the reader into architectural problems that have persisted for at least two centuries. Demonstrating a concern with on-going modernism, Masheck's essays guide the reader through the anti-modernist polemics of the 1970s and 1980s, which are particularly relevant in the light of postmodernism's demise.
On Weathering illustrates the complex nature of the architectural project by taking into account its temporality, linking technical problems of maintenance and decay with a focused consideration of their philosophical and ethical implications.In a clear and direct account supplemented by many photographs commissioned for this book, Mostafavi and Leatherbarrow examine buildings and other projects from Alberti to Le Corbusier to show that the continual refinishing of the building by natural forces adds to, rather than detracts from, architectural meaning. Their central discovery, that weathering makes the final state of the construction necessarily indefinite, challenges the conventional notion of a building's completeness. By recognizing the inherent uncertainty and inevitability of weathering and by viewing the concept of weathering as a continuation of the building process rather than as a force antagonistic to it, the authors offer alternative readings of historical constructions and potential beginnings for new architectural projects.
Covers the development of musical life in the great centres of European music - Paris, Vienna, London and the courts of Italy and Germany. The contributions of Handel and Bach, and their lesser colleagues are set in their historical and sociological context.
In this important revisionist work, Sylvia Lavin uncovers the origins of one of the fundamental concepts of modern architectural theory, the idea that architecture is a form of language. She demonstrates how, in some little-studied texts, the late Enlightenment theorist Quatremere de Quincy transformed a simple metaphor into a framework for reconceptualizing the structure of architecture. Lavin's effort to interpret Quatremere in the context of intellectual history permits a deeper understanding of this controversial figure. More importantly, by focusing on the conceptual structure rather than the material illustrations of an architectural idea, she suggests a valuable new approach to the study of theories of architecture.Lavin suggests that by using language to provide architecture with a conventional rather than natural model, Quatremere equated architecture's capacity for progressive development with its sociality. Challenging the usual appraisal of Quatremere as a conservative academic, Lavin argues that his underlying emphasis on the social contract of architecture, rather than the neoclassical style he explicitly promulgated, is the key to the persistent interest in his writings. She shows how Quatremere's effort to establish a universally valid theory of architecture led him beyond the boundaries of academic classicism and into contemporary developments in language theory, ethnography, and Egyptology.Lavin then demonstrates how the relativism of these emerging spheres of knowledge, which sought to discover fundamental relationships between distinct cultural traditions, affected Quatremere's understanding of architecture. She posits Quatremere as the first thinker to develop a theory of architecture able to accommodate a wide range of formal expressions and generate dissimilar discourses. In the process, she reveals a consonance between the interdisciplinary nature of his thought and the extraordinary breadth of his influence.Sylvia Lavin is Assistant Professor of Architectural History and Theory in the Graduate School of Architecture and Urban Planning at the University of California at Los Angeles.
In order for a book to succeed in presenting a theory of architecture, it must address aspects of imagination and creativity as well as the channels one can use to achieve truly significant architectural design. Poetics of Architecture explores the fundamental theories of Modern and Postmodern design and attempts to reconcile all that is worthwhile in these two movements into a new inclusivist attitude toward architecture. Anthony C. Antoniades looks at the many intangible and tangible channels one can harness in creating architectural design. By opening up architecture to the full range of creative influences, he tries to help readers produce designs that are richer on spatial, sensual, spiritual, and environmental levels. Some of the intangible channels to creativity explored in the book include fantasy, metaphor, the paradoxical and metaphysical, the primordial and untouched, poetry and literature, and the exotic and multicultural. Among the tangible channels covered are history and the study of precedents, mimesis and literal interpretation, geometry, materials, and the role of nature. The author presents rich and imaginative discussions of these various channels, explaining which were favored during the Modern and Postmodern movements and clarifying his theoretical analyses through the use of many vivid examples, tables, and illustrations. Included among the examples in the volume are many distinguished projects and theories by a wide range of noted architects such as Asplund, Aalto, Utzon, Pikionis, Barragin, Pietila, Predock, and Legorreta, who are latecomers to the attention of the media. Antoniades also provides fascinating material on the study of architectural biographies as a means of achieving an all-inclusive creativity in architectural design. Highly original yet based on solid principles, Poetics of Architecture will help architects, designers, and students increase their versatility and creativity in the studio. It will also deepen their understanding and appreciation of the creative process and its many influences.
This book is unique in its attempt to explore the many ways we have of thinking about buildings. In particular it raises questions about the kinds of knowledge we have and will need in designing, making and enjoying our buildings. At the very least this book provides an overview of the fragmented construction industry, making it a vital purchase for all construction related students. However, the author has written for a wider audience making the book an essential guide for those interested in the form of buildings or the deliberate ways in which people build them.
This series offers a range of heretofore unavailable writings in English translation on the subjects of art, architecture, and aesthetics.Hubsch's argument that the technical progress and changed living habits of the nineteenth century rendered neoclassical principles antiquated is presented here along with responses to his essay by architects, historians, and critics over two decades.
Science parks are becoming established in increasing numbers in almost all parts of the world. Promoted as places on the frontiers of science where a new breed of scientist-entrepreneur invents a new future, extolled as high-status workplaces where a new style of employee and flexible labour process is in the making, they are seen as the potential saviours of local and national economies. High-Tech Fantasies criticises the divisive hype of science parks arguing that both the theory and practice are unproductive for the economy and for any socially progressive science and technology. Questioning responsibility, innovation and symbolism, the authors explore the mutual determination of society, science and space.
This book is a unique collection of new and existing articles about progressive architectural teaching and learning. It is about restructuring architectural education--a project that defines itself within a transformative definition of society. Dialectically linking architectural education and society, the book presents authors who conceptualize architectural pedagogy within a critical analysis of the larger society, and who construct forms of teaching and learning experiences that reveal and contest professional and societal directions. The authors present a multiplicity of voices, including women, people of color, and students; voices often marginalized but crucial to a remapping of the cultural-political terrain in their struggle to make issues of gender, race, class, etc. central to a reconceptualization of architectural education and pedagogy. This anthology, then, is more than a mere list of projects and pedagogies--it is a theoretical investigation of critical practices in architectural education that engage the world in order to change it. This book will challenge architectural educators to think consciously of their work and experiences in political and cultural terms. Insofar as architectural teachers plan instruction, determine readings, and select programs and building types for studio investigations, they are implementing a theory. The question, of course, is whether teachers are fully aware of the theoretical base of their actions. Since theory usually embodies interests grounded in societal forms of power, it has political consequences. This book sees education and pedagogy as forms of cultural politics--constructing a new terrain that will invigorate architectural pedagogy and focus discussion toward a needed architectural/educational/political project. Voices in Architectural Education will be invaluable to professors and students of architecture in both graduate and undergraduate education, as well as to practitioners of the architecture profession.
Politics and culture are at once semi-autonomous and intertwined. Nowhere is this more revealingly illustrated than in urban design, a field that encompasses architecture and social life, traditions and modernization. Here aesthetic goals and political intentions meet, sometimes in collaboration, sometimes in conflict. Here the formal qualities of art confront the complexities of history. When urban design policies are implemented, they reveal underlying aesthetic, cultural, and political dilemmas with startling clarity. Gwendolyn Wright focuses on three French colonies--Indochina, Morocco, and Madagascar--that were the most discussed, most often photographed, and most admired showpieces of the French empire in the early twentieth century. She explores how urban policy and design fit into the French colonial policy of association, a strategy that accepted, even encouraged, cultural differences while it promoted modern urban improvements that would foster economic development for Western investors. Wright shows how these colonial cities evolved, tracing the distinctive nature of each locale under French imperialism. She also relates these cities to the larger category of French architecture and urbanism, showing how consistently the French tried to resolve certain stylistic and policy problems they faced at home and abroad. With the advice of architects and sociologists, art historians and geographers, colonial administrators sought to exert greater control over such matters as family life and working conditions, industrial growth and cultural memory. The issues Wright confronts--the potent implications of traditional norms, cultural continuity, modernization, and radical urban experiments--still challenge us today.
De Re Aedificatoria, by Leon Battista Alberti (1404-1472), was the first modern treatise on the theory and practice of architecture. Its importance for the subsequent history of architecture is incalculable, yet this is the first English translation based on the original, exceptionally eloquent Latin text on which Alberti's reputation as a theorist is founded.
In Design Thinking Peter Rowe provides a systematic account of the process of designing in architecture and urban planning. He examines multiple and often dissimilar theoretical positions whether they prescribe forms or simply provide procedures for solving problems-as particular manifestations of an underlying structure of inquiry common to all designing. Over 100 illustrations and a number of detailed observations of designers in action support Rowe's thesis.