In The Emerald City, Dan Willis takes us on a flight of imagination that paradoxically never strays far from the most tangible, even intimate subjects. His essays range from the Tower of Babel to the Wizard of Oz, from Christo to Christmas trees, from the "lightness of being" to the "weight of architecture." This ultimately optimistic book suggests that architecture is as vital as ever: "It is tempting to say that our present cultural situation...has rendered architecture nearly impossible if not unnecessary. But it is also possible to look to what our lives, at the turn of the millennium, typically lack-fulfillment, spirituality, a sense of belonging, weight-and to conclude that the ground for architecture has never been more fertile. The texts-intelligent and readable-draw equally from literary sources, architectural practice, philosophical analyses, pop culture, and everyday experiences. Willis's perspective as a writer, architect, artist, and teacher informs his work; his texts are at once reflective and proactive, as they challenge readers to rethink their participation in the built environment. Accompanying the text are the author's original illustrations, which link the forms and forces surrounding architecture at the end of the twentieth century in novel, thought-provoking ways.

This book approaches the field of built heritage and its practices by employing the concept of heterotopia, established by the French philosopher Michel Foucault. The fundamental understandings of heritage, its evolution and practices all reveal intrinsic heterotopic features (the mirror function, its utopic drive, and its enclave-like nature). The book draws on previous interpretations of heterotopia and argues for a reading of heritage as heterotopia, considering various heritage mechanisms – heritage selection, conservation and protection practices, and heritage as mnemonic device – in this regard. Reworking the six heterotopic principles, an analysis grid is designed and applied to various built heritage spaces (vernacular, religious architecture, urban 19th century ensembles). Guided through this theoretical itinerary, the reader will rediscover the heterotopic lens as a minor, yet promising, Foucauldian device that allows for a better understanding of heritage and its everyday practices.

In recent years architectural discourse has witnessed a renewed interest in materiality under the guise of such familiar tropes as 'material honesty,' 'form finding,' or 'digital materiality.' Motivated in part by the development of new materials and an increasing integration of designers in fabricating architecture, a proliferation of recent publications from both practice and academia explore the pragmatics of materiality and its role as a protagonist of architectural form. Yet, as the ethos of material pragmatism gains more popularity, theorizations about the poetic imagination of architecture continue to recede. Compared to an emphasis on the design of visual form in architectural practice, the material imagination is employed when the architect 'thinks matter, dreams in it, lives in it, or, in other words, materializes the imaginary.' As an alternative to a formal approach in architectural design, this book challenges readers to rethink the reverie of materials in architecture through an examination of historical precedent, architectural practice, literary sources, philosophical analyses and everyday experience. Focusing on matter as the premise of an architect’s imagination, each chapter identifies and graphically illustrates how material imagination defines the conceptual premises for making architecture.

Suzanne Churchill's well-researched and superbly crafted study is the first book-length treatment of Others, an important and neglected little magazine that served as a laboratory for modernist poetic experimentation. In discussions of influential poets such as Mina Loy, Marianne Moore, and William Carlos Williams, whose careers Others helped launch, Churchill counters the notion of Modernism as aesthetically self-isolating and socially disengaged. Rather, she traces a correspondence between formal innovation and social change in American modernist poetry and argues that this dimension of modernist formalism is lost when poems are studied in isolation. Others provides a framework for reassessing the scope and significance of modernist formalism. The little magazine not only anchors modernist poetry in a social context but also leads to new insight into major modernist texts. Churchill's commitment to her subject's broad cultural contexts makes her book important for students and teachers of Modernism as well as for those working in the fields of American poetry and poetics, gender studies, queer theory, periodical studies, and cultural studies.

A revisionist view of Renaissance architectural design as a dialectical process engaging word and image in the creation of Raphael's masterwork.

Introducing Architectural Tectonics is an exploration of the poetics of construction. Tectonic theory is an integrative philosophy examining the relationships formed between design, construction, and space while creating or experiencing a work of architecture. In this text, author Chad Schwartz presents an introductory investigation into tectonic theory, subdividing it into distinct concepts in order to make it accessible to beginning and advanced students alike. The book centers on the tectonic analysis of twenty contemporary works of architecture located in eleven countries including Germany, Italy, United States, Chile, Japan, Bangladesh, Spain, and Australia and designed by such notable architects as Tadao Ando, Herzog & de Meuron, Kengo Kuma, Olson Kundig, and Peter Zumthor. Although similarities do exist between the projects, their distinctly different characteristics – location and climate, context, size, program, construction methods – and range of interpretations of tectonic expression provide the most significant lessons of the book, helping you to understand tectonic theory. Written in clear, accessible language, these investigations examine the poetic creation of architecture, showing you lessons and concepts that you can integrate into your own work, whether studying in a university classroom or practicing in a professional office.

Does energy consumption influence architectural style? Should more energy-efficient buildings look different? Can that "look" be used to explain or enhance their performance? Architecture and Energy provides architects and architectural theorists with more durable arguments for environmental design decisions, arguments addressing three different scales or aspects of contemporary construction. By drawing together essays from the leading experts in the field, this book engages with crucial issues in sustainable design, such as: The larger role of energy in forming the cultural and economic systems in which architecture is conceived, constructed, and evaluated The different measures and meanings of energy "performance" and how those measures are realized in buildings The specific ways in which energy use translates into the visible aspects of architectural style. Drawing on research from the UK, US, Europe, and Asia the book outlines the problems surrounding energy and architecture and provides the reader with a considered overview of this important topic.

In this increasingly digitized world, any investigation of architecture inevitably leads to considerations of fabrication. But despite its omnipresence in contemporary practice and theory, digital design remains a fluid concept, its development and current influence discussed in scattered articles.

Marco Frascari believed that architects should design thoughtful buildings capable of inspiring their inhabitants to have pleasurable and happy lives. A visionary Italian architect, academic and theorist, Frascari is best-known for his extraordinary texts, which explore the intellectual, theoretical and practical substance of the architectural discipline. As a student in Venice during the late 1960s, Frascari was taught and mentored by Carlo Scarpa. Later he moved to North America with his family, where he became a fulltime academic. Throughout his academic career, he continued to work on numerous architectural projects, including exhibitions, competition entries, and designs for approximately 35 buildings, a small number of which were built. As a means of (re)constructing the theatre of imaginative theory within which these buildings were created, Sam Ridgway draws on a wide selection of Frascari’s texts, including his richly poetic book Monsters of Architecture, to explore the themes of representation, demonstration, and anthropomorphism. Three of Frascari’s delightful buildings are then brought to light and interpreted, revealing a sophisticated and interwoven relationship between texts and buildings.

Frank O. Gehry, born in 1929, founded his own architectural firm in Los Angeles in 1962, and since the building of the Guggenheim Museum in Bilbao, he is undoubtedly among the ranks of international architecture superstars. His buildings are complex constructions, with curves and distortions, skilful plastic shapes which never cease to surprise with their breath-taking spatial effects. To create these daring designs, Gehry makes extensive use of the latest electronic tools, physical models are transformed into digital models using software and hardware which has been adapted from the space industry and medical research. This book provides a colourful insight into Gehry's design methods and the creative process behind his fantastic buildings. Bruce Lindsay studied at the Yale School of Architecture; he is now Associate Head at the School of Architecture at Carnegie Mellon University in Pittsburgh (USA).