While most books on architecture concentrate on spatial themes, this book explores architecture's temporal dimensions. Through a series of close readings of buildings, both contemporary and classic, it demonstrates the centrality of time in modern architecture, and shows why an understanding of time is critical to understanding good architecture. All buildings exist in time. Even if designed for permanence, they change, slowly but inevitably. They change use, they accrue history and meaning, they decay – all of these processes are inscribed in time. So too is the path traced by the sun through a building, and the movements of the human body from room to room. Time, this book argues, is the framework for our spatial experience of architecture, and a key dimension of a building's structure and significance. Building Time presents twelve close readings of buildings and artworks which explore this idea. Examining works by distinctive modern architects – from Eileen Gray to Álvaro Siza and Wang Shu – it takes the reader, in some cases literally step-by-step, through a built work, and provides insightful reflections on the importance of 'making space for time' in architectural design. This is a book for both theorists and for architectural designers. Through it, theorists will find a way to rethink the fundamental premises and aims of design work, while designers will rediscover the order and ideas that shape the world around them-its buildings, interiors, and landscapes.
A study of the building surface, architecture's primary instrument of identity and engagement with its surroundings. Visually, many contemporary buildings either reflect their systems of production or recollect earlier styles and motifs. This division between production and representation is in some ways an extension of that between modernity and tradition. In this book, David Leatherbarrow and Mohsen Mostafavi explore ways that design can take advantage of production methods such that architecture is neither independent of nor dominated by technology. Leatherbarrow and Mostafavi begin with the theoretical and practical isolation of the building surface as the subject of architectural design. The autonomy of the surface, the "free facade," presumes a distinction between the structural and nonstructural elements of the building, between the frame and the cladding. Once the skin of the building became independent of its structure, it could just as well hang like a curtain, or like clothing. The focus of the relationship between structure and skin is the architectural surface. In tracing the handling of this surface, the authors examine both contemporary buildings and those of the recent past. Architects discussed include Albert Kahn, Ludwig Mies van der Rohe, Alison and Peter Smithson, Alejandro de la Sota, Robert Venturi, Jacques Herzog, and Pierre de Meuron. The properties of a building's surface—whether it is made of concrete, metal, glass, or other materials—are not merely superficial; they construct the spatial effects by which architecture communicates. Through its surfaces a building declares both its autonomy and its participation in its surroundings.
So much writing about architecture tends to evaluate it on the basis of its intentions: how closely it corresponds to the artistic will of the designer, the technical skills of the builder, or whether it reflects the spirit of the place and time in which it was built, making it not much more than the willful (or even subconscious) assemblage of objects that result from design and construction techniques. Renowned writer and thinker David Leatherbarrow, in this groundbreaking new book, argues for a richer and more profound, but also simpler, way of thinking about architecture, namely on the basis of how it performs. Not simply how it functions, but how it acts, "its manner of existing in the world," including its effects on the observers and inhabitants of a building as well as on the landscape that situates it. In the process, Leatherbarrow transforms our way of discussing buildings from a passive technical or programmatic assessment to a highly active and engaged examination of the lives and performances, intended and otherwise, of buildings.
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.
Focusing on the years 1930 to 1960, this book reassesses the relationship between siting and construction. It argues that the the interplay of technology and topography was paramount.
This important book defines what investigative reporting is and what qualities it requires. Drawing on the experience of many well-known journalists in the field, the author identifies the skills, common factors and special circumstances involved in a wide variety of investigations. It examines how opportunities for investigations can be found and pursued, how informants can be persuaded to yield needed information and how and where this information can be checked. It also stresses the dangers and legal constraints that have to be contended with and shows real life examples such as the Cook Report formula, the Jonathan Aitken investigation and the Birmingham Six story. David Spark, himself a freelance writer of wide experience, examines how opportunities for investigations can be found and pursued, how informants can be persuaded to yield needed information and how and where this information can be checked. He also stresses the dangers and legal constraints that have to be contended with and shows investigators at work in two classic inquiries: · The mysterious weekend spent in Paris by Jonathan Aitken, then Minister of Defence Procurement · The career of masterspy Kim Philby Investigative Reporting looks at such fields for inquiry as company frauds (including those of Robert Maxwell), consumer complaints, crime, police malpractice, the intelligence services, local government and corruption in Parliament and in overseas and international bodies. The author believes that the conclusions that emerge from this far-reaching survey are of value not only in investigative journalism, but to practitioners in all branches of reporting.
A study of the building surface, architecture's primary instrument of identity and engagement with its surroundings. Visually, many contemporary buildings either reflect their systems of production or recollect earlier styles and motifs. This division between production and representation is in some ways an extension of that between modernity and tradition. In this book, David Leatherbarrow and Mohsen Mostafavi explore ways that design can take advantage of production methods such that architecture is neither independent of nor dominated by technology. Leatherbarrow and Mostafavi begin with the theoretical and practical isolation of the building surface as the subject of architectural design. The autonomy of the surface, the "free facade," presumes a distinction between the structural and nonstructural elements of the building, between the frame and the cladding. Once the skin of the building became independent of its structure, it could just as well hang like a curtain, or like clothing. The focus of the relationship between structure and skin is the architectural surface. In tracing the handling of this surface, the authors examine both contemporary buildings and those of the recent past. Architects discussed include Albert Kahn, Ludwig Mies van der Rohe, Alison and Peter Smithson, Alejandro de la Sota, Robert Venturi, Jacques Herzog, and Pierre de Meuron. The properties of a building's surface—whether it is made of concrete, metal, glass, or other materials—are not merely superficial; they construct the spatial effects by which architecture communicates. Through its surfaces a building declares both its autonomy and its participation in its surroundings.
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.
Topography, in his view, incorporates terrain, built and unbuilt. It also traces practical affairs, by which culture preserves and renews its typical situations and institutions.".
Biochemistry: The Chemical Reactions of Living Cells is a well-integrated, up-to-date reference for basic chemistry and underlying biological phenomena. Biochemistry is a comprehensive account of the chemical basis of life, describing the amazingly complex structures of the compounds that make up cells, the forces that hold them together, and the chemical reactions that allow for recognition, signaling, and movement. This book contains information on the human body, its genome, and the action of muscles, eyes, and the brain.* Thousands of literature references provide introduction to current research as well as historical background* Contains twice the number of chapters of the first edition* Each chapter contains boxes of information on topics of general interest
***Winner of the American Association for Italian Studies Book Prize 2022*** After World War II, a wave of Italian films emerged that depicted the life and hardships of characters left helpless after the conflict, bringing to the screen the struggles of a time of existential angst and uncertainty. This form of filmmaking was associated with a broader artistic phenomenon known as ‘neorealism’ and is now considered a pivotal point in the history of Italian cinema. But neorealism was not limited to film any more than it was to literature. It spread to other areas of artistic production, including architecture. What was, then, neorealist architecture? This book explores the links between architecture, filmmaking and the built environment in dopoguerra Italy (194X–195X) seeking to ascertain whether, and how, neorealism manifested itself in architecture. Terms such as ‘neorealist architecture’ or ‘architectural neorealism’ were hinted at in these years and recalled by historians of architecture in the following decades. Therefore, the concept was adopted ad hoc and popularized post hoc, in the absence of any declarations prior to 1955 that proclaimed what neorealism in architecture was or wanted to be. However, while the concept has been internalized by Italian architectural history, transfers between neorealism—as an aesthetic and ethic—and architecture—as one potential medium of its embodiment or expression—are still not fully understood. Therefore, its main goal is to provide an in-depth discussion of the concept ‘neorealist architecture’, the working assumption being that the connection between both terms is not meaningless. The book is beautifully illustrated with over 100 black and white archival images and is the first book to be published on neorealism in architecture. It will appeal to scholars, professionals, and students interested in history and theory of architecture, Italian studies, art history, and cultural studies.
The Ruin of the Eternal City provides the first systematic analysis of the preservation practices of the popes, civic magistrates, and ordinary citizens of Renaissance Rome. This study offers a new understanding of historic preservation as it occurred during the extraordinary rebuilding of a great European capital city.
The phase of American architectural history we call 'mid-century modernism,' 1940-1980, saw the spread of Modern Movement tenets of functionalism, social service and anonymity into mainstream practice. It also saw the spread of their seeming opposites. Temples, arcades, domes, and other traditional types occur in both modernist and traditionalist forms from the 1950s to the 1970s. Hut Pavilion Shrine examines this crossroads of modernism and the archetypal, and critiques its buildings and theory. The book centers on one particularly important and omnipresent type, the pavilion - a type which was the basis of major work by Louis I. Kahn, Paul Rudolph, Philip Johnson, Minoru Yamasaki, and other eminent architects. While focusing primarily on the architecture culture of the United States, it also includes the work of British, European Team X, and Scandinavian designers and writers. Making connections between formal analysis, historical context, and theory, the book continues lines of inquiry which have been pursued by Neil Levine and Anthony Vidler on representation, and by Sarah Goldhagen and Alice Friedman on modernism’s 'forbidden' elements of the honorific and the visually pleasurable. It highlights the significance of 'pavilionizing' mid-century designers such as Victor Lundy, John Johansen, Eero Saarinen, and Edward Durell Stone, and shows how frequently essentialist and traditionalist types appeared in the roadside vernacular of drive-in restaurants, gas stations, furniture and car showrooms, branch banks, and motels. The book ties together the threads in mid-century architectural theory that addressed aspects of type, 'essential' structure, and primal 'humanistic' aspects of environment-making and discusses how these concerns outlived the mid-century moment, and in the designs and writings of Aldo Rossi and others they paved the way for Post-Modernism.
The Architecture of Persistence argues that continued human use is the ultimate measure of sustainability in architecture, and that expanding the discourse about adaptability to include continuity as well as change offers the architectural manifestation of resilience. Why do some buildings last for generations as beloved and useful places, while others do not? How can designers today create buildings that remain useful into the future? While architects and theorists have offered a wide range of ideas about building for change, this book focuses on persistent architecture: the material, spatial, and cultural processes that give rise to long-lived buildings. Organized in three parts, this book examines material longevity in the face of constant physical and cultural change, connects the dimensions of human use and contemporary program, and discusses how time informs the design process. Featuring dozens of interviews with people who design and use buildings, and a close analysis of over a hundred historic and contemporary projects, the principles of persistent architecture introduced here address urgent challenges for contemporary practice while pointing towards a more sustainable built environment in the future. The Architecture of Persistence: Designing for Future Use offers practitioners, students, and scholars a set of principles and illustrative precedents exploring architecture’s unique ability to connect an instructive past, a useful present, and an unknown future.
This eagerly awaited study of Russia under Alexander I, Nicholas I and Alexander II -- the Russia of War and Peace and Anna Karenina -- brings the series near to completion. David Saunders examines Russia's failure to adapt to the era of reform and democracy ushered into the rest of Europe by the French Revolution. Why, despite so much effort, did it fail? This is a superb book, both as a portrait of an age and as a piece of sustained historical analysis.
David Galenson's work on the history of art is a unique fusion of econometrics and cultural analysis that is unprecedented in the literature on creativity in any discipline, whether economics, psychology, literary studies or art history.
From the Bristol Voyages of the Fifteenth Century to the Pilgrim Settlement at Playmouth: The Exploration, Exploitation and Trial-and-Error Colonization of North America by the English
From the Bristol Voyages of the Fifteenth Century to the Pilgrim Settlement at Playmouth: The Exploration, Exploitation and Trial-and-Error Colonization of North America by the English
First published in 1974, England and the Discovery of America places the early explorations of the English in North America in the broad context of 15th and 16th century history. Marshalling evidence that cannot be pushed aside and sifting a mass of fascinating detail (including problems of cartography and the Vinland Map controversy), Professor Quinn presents circumstantial indications pointing to 1481 as the date or the discovery of America by Bristol voyagers – fishermen seeking new sources of cod, and merchant sailors with maps carrying promise of unexploited Atlantic islands. Whereas England did little to follow up her early lead, Quinn demonstrates that English initiatives from the 1580s onward, though slow, were of great importance. He brings to life the men involved in a variety of rash and heroic experiments in colonization and casts new light on their fates. He makes it clear that it was this very profusion of trial and error and trail again, as well as the conviction that settlement in temperate latitudes in North America could be effective if tenaciously enough sought, that enabled the English to strike and maintain routes in their new American world. This book will be of interest to students of English history, American history, colonial history and naval history.
A unique novel comprised of a cycle of beautiful and mysterious fantasy folk tales which combine to tell an unforgettable story This is a book like no other: a magical tapestry of folk tales, woven together to build a world that is as strange yet familiar as a half-remembered dream. It is an old world, a world of enchanted corn dollies and wild dances in poppy fields, a world of tricksters, lovers and fools. Through this world, Greychild must journey in search of his mother: from the village of Brunt Boggart, down the treacherous Pedlar Man's track, all the way to distant Arleccra, a city of treasures and temptation. If you follow him, a part of you will never come back.
Crossing Borders deconstructs contemporary theories of Soviet history from the revolution through the Stalin period, and offers new interpretations based on a transnational perspective. To Michael David-Fox, Soviet history was shaped by interactions across its borders. By reexamining conceptions of modernity, ideology, and cultural transformation, he challenges the polarizing camps of Soviet exceptionalism and shared modernity and instead strives for a theoretical and empirical middle ground as the basis for a creative and richly textured analysis. Discussions of Soviet modernity have tended to see the Soviet state either as an archaic holdover from the Russian past, or as merely another form of conventional modernity. David-Fox instead considers the Soviet Union in its own light—as a seismic shift from tsarist society that attracted influential visitors from the pacifist Left to the fascist Right. By reassembling Russian legacies, as he shows, the Soviet system evolved into a complex "intelligentsia-statist" form that introduced an array of novel agendas and practices, many embodied in the unique structures of the party-state. Crossing Borders demonstrates the need for a new interpretation of the Russian-Soviet historical trajectory—one that strikes a balance between the particular and the universal.
David Bethea examines the distinctly Russian view of the "end" of history in five major works of modern Russian fiction. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
The past remains essential - and inescapable. A quarter-century after the publication of his classic account of man's attitudes to his past, David Lowenthal revisits how we celebrate, expunge, contest and domesticate the past to serve present needs. He shows how nostalgia and heritage now pervade every facet of public and popular culture. History embraces nature and the cosmos as well as humanity. The past is seen and touched and tasted and smelt as well as heard and read about. Empathy, re-enactment, memory and commemoration overwhelm traditional history. A unified past once certified by experts and reliant on written texts has become a fragmented, contested history forged by us all. New insights into history and memory, bias and objectivity, artefacts and monuments, identity and authenticity, and remorse and contrition, make this book once again the essential guide to the past that we inherit, reshape and bequeath to the future.
Narrative Faith engages with the dynamics of doubt and faith to consider how literary works with complex structures explore different moral visions. The study describes a literary petite histoire that problematizes faith in two ways—both in the themes presented in the story, and the strategies used to tell that story—leading readers to doubt the narrators and their narratives. Starting with Dostoevsky’s Demons (1872), a literary work that has captivated and confounded critics and readers for well over a century, the study examines Albert Camus’s The Plague (1947) and Isaac Bashevis Singer’s The Penitent (1973/83), works by twentieth-century authors who similarly intensify questions of faith through narrators that generate doubt. The two postwar novelists share parallel preoccupations with Dostoevsky’s art and similar personal philosophies, while their works constitute two literary responses to the cataclysm of the Second World War—extending questions of faith into the current era. The book’s last section looks beyond narrative inquiry to consider themes of confession and revision that appear in all three novels and open onto horizons beyond faith and doubt—to hope.
History from Things explores the many ways objects—defined broadly to range from Chippendale tables and Italian Renaissance pottery to seventeenth-century parks and a New England cemetery—can reconstruct and help reinterpret the past. Eighteen essays describe how to “read” artifacts, how to “listen to” landscapes and locations, and how to apply methods and theories to historical inquiry that have previously belonged solely to archaeologists, anthropologists, art historians, and conservation scientists. Spanning vast time periods, geographical locations, and academic disciplines, History from Things leaps the boundaries between fields that use material evidence to understand the past. The book expands and redirects the study of material culture—an emerging field now building a common base of theory and a shared intellectual agenda.
The Death of Drawing explores the causes and effects of the epochal shift from drawing to computation as the chief design and communication medium in architecture. Drawing both framed the thinking of architects and organized the design and construction process to place architects at its center. Its displacement by building information modeling (BIM) and computational design recasts both the terms in which architects think and their role in building production. Author David Ross Scheer explains that, whereas drawing allowed architects to represent ideas in form, BIM and computational design simulate experience, making building behavior or performance the primary object of design. The author explores many ways in which this displacement is affecting architecture: the dominance of performance criteria in the evaluation of design decisions; the blurring of the separation of design and construction; the undermining of architects’ authority over their projects by automated information sharing; the elimination of the human body as the common foundation of design and experience; the transformation of the meaning of geometry when it is performed by computers; the changing nature of design when it requires computation or is done by a digitally-enabled collaboration. Throughout the book, Scheer examines both the theoretical bases and the practical consequences of these changes. The Death of Drawing is a clear-eyed account of the reasons for and consequences of the displacement of drawing by computational media in architecture. Its aim is to give architects the ability to assess the impact of digital media on their own work and to see both the challenges and opportunities of this historic moment in the history of their discipline.
Proteins: Structure and Function is a comprehensive introduction to the study of proteins and their importance to modern biochemistry. Each chapter addresses the structure and function of proteins with a definitive theme designed to enhance student understanding. Opening with a brief historical overview of the subject the book moves on to discuss the ‘building blocks’ of proteins and their respective chemical and physical properties. Later chapters explore experimental and computational methods of comparing proteins, methods of protein purification and protein folding and stability. The latest developments in the field are included and key concepts introduced in a user-friendly way to ensure that students are able to grasp the essentials before moving on to more advanced study and analysis of proteins. An invaluable resource for students of Biochemistry, Molecular Biology, Medicine and Chemistry providing a modern approach to the subject of Proteins.
This is the first book to address future informal settlements at the global scale. It argues that to foster favourable conditions for the sustainable evolution of future informal cities, planners must consider the same issues that are paramount in formal urban developments, such as provision of: balanced land uses energy efficiency and mobility water management and food sufficiency governance and community participation productivity and competitiveness identity and sense of place Planning and Design for Future Informal Settlements makes a call for responsible action to address the urban challenges of the developing world, suggesting that the vitality of informality, coupled with spatial design and good management, can support the efficient use of resources in better places to live. The book analyses the strengths and weaknesses of informal urbanism and the challenges faced by the fast growing cities of the developing world. Through case studies, it demonstrates the contributions and limitations of different attempts to plan ahead for urban growth, from the creation of formal housing and urban infrastructures for self-built dwellings to the improvement of existing informal settlements. It provides a robust framework for planners and designers, policy-makers, NGOs and local governments working to improve living conditions in developing cities.
Braking of Road Vehicles, Second Edition includes updated and new subject matter related to the technological advances of road vehicles such as hybrid and electric vehicles and "self-driving" and autonomous vehicles. New material to this edition includes root causes, guidelines, experimental and measurement techniques, brake NVH identification and data analysis, CAE and dynamic modelling, advances in rotor and stator materials, manufacturing methods, changes to European and US legislation since 2014, recent developments in technology, methods and analysis, and new and updated case studies. This new edition will continue to be of interest to engineers and technologists in automotive and road transport industries, automotive engineering students and instructors, and professional staff in vehicle-related legislational, legal, military, security and investigative functions. - Completely revised to keep up-to-date with the demands and requirements of a new generation of road vehicles - Includes new chapters on Autonomous and Regenerative Braking, Brake-by-Wire and Electronic Braking Systems - Addresses issues such as prediction of brake performance, component stresses and temperatures, and durability - Discusses operational problems such as noise and judder, variable torque generation and variable deceleration
An illuminating look at a fundamental yet understudied aspect of Italian Renaissance painting The Italian Renaissance picture is renowned for its depiction of the human figure, from the dramatic foreshortening of the body to create depth to the subtle blending of tones and colors to achieve greater naturalism. Yet these techniques rely on a powerful compositional element that often goes overlooked. Groundwork provides the first in-depth examination of the complex relationship between figure and ground in Renaissance painting. “Ground” can refer to the preparation of a work’s surface, the fictive floor or plane, or the background on which figuration occurs. In laying the material foundation, artists perform groundwork, opening the ground as a zone that can precede, penetrate, or fracture the figure. David Young Kim looks at the work of Gentile da Fabriano, Giovanni Bellini, Giovanni Battista Moroni, and Caravaggio, reconstructing each painter’s methods to demonstrate the intricacies involved in laying ground layers whose translucency and polychromy permeate the surface. He charts significant transitions from gold ground painting in the Trecento to the darkened grounds in Baroque tenebrism, and offers close readings of period texts to shed new light on the significance of ground forms such as rock face, wall, and cave. This beautifully illustrated book reconceives the Renaissance picture, revealing the passion and mystery of groundwork and discovering figuration beyond the human figure.
Providing an overview of specifying, from selecting materials and products to writing the specification documents, Specifying Buildings is a new guide to this important part of the construction process. Where it differs from most books is in covering the management of the specification process, making sure that the design intent is transferred to the building assembly as specified. Covering a wide range of practices, Stephen Emmitt and David Yeomans have ensured the book has global relevance with specific differences between UK, Australia and the US identified. Case studies demonstrate how specifying works in practice. This book will prove invaluable to students of building, construction and architecture as well as professionals in the industry.
J.M. Coetzee is one of the world's most intriguing authors. Compelling, razor-sharp, erudite: the adjectives pile up but the heart of the fiction remains elusive. Now, in J.M. Coetzee and the Life of Writing, David Attwell explores the extraordinary creative processes behind Coetzee's novels from Dusklands to The Childhood of Jesus. Using Coetzee's manuscripts, notebooks, and research papers—recently deposited at the Harry Ransom Center of the University of Texas at Austin—Attwell produces a fascinating story. He shows convincingly that Coetzee's work is strongly autobiographical, the memoirs being continuous with the fictions, and that his writing proceeds with never-ending self-reflection. Having worked closely with him on Doubling the Point: Essays and Interviews and given early access to Coetzee's archive, David Attwell is an engaging, authoritative source. J. M. Coetzee and the Life of Writing is a fresh, fascinating take on one of the most important and opaque literary figures of our time. This moving account will change the way Coetzee is read, by teachers, critics, and general readers.
We are conditioned over time to regard environmental forces such as dust, mud, gas, smoke, debris, weeds, and insects as inimical to architecture. Much of today's discussion about sustainable and green design revolves around efforts to clean or filter out these primitive elements. While mostly the direct result of human habitation, these 'subnatural forces' are nothing new. In fact, our ability to manage these forces has long defined the limits of civilized life. From its origins, architecture has been engaged in both fighting and embracing these so-called destructive forces. In Subnature, David Gissen, author of our critically acclaimed Big and Green, examines experimental work by today's leading designers, scholars, philosophers, and biologists that rejects the idea that humans can somehow recreate a purely natural world, free of the untidy elements that actually constitute nature. Each chapter provides an examination of a particular form of subnature and its actualization in contemporary design practice. The exhilarating and at times unsettling work featured in Subnature suggests an alternative view of natural processes and ecosystems and their relationships to human society and architecture. R&Sie(n)'s Mosquito Bottleneck house in Trinidad uses a skin that actually attracts mosquitoes and moves them through the building, while keeping them separate from the occupants. In his building designs the architect Philippe Rahm draws the dank air from the earth and the gasses and moisture from our breath to define new forms of spatial experience. In his Underground House, Mollier House, and Omnisport Hall, Rahm forces us to consider the odor of soil and the emissions from our body as the natural context of a future architecture. [Cero 9]'s design for the Magic Mountain captures excess heat emitted from a power generator in Ames, Iowa, to fuel a rose garden that embellishes the industrial site and creates a natural mountain rising above the city's skyline. Subnature looks beyond LEED ratings, green roofs, and solar panels toward a progressive architecture based on a radical new conception of nature.
This book presents results of excavations at the moated sites of Barrow Old Hall and Twiss Green, in Warrington, North West England, including evidence for possible aisled halls at both sites, as well as a significant assemblage of medieval and early post-medieval pottery.
The fourteen essays collected in this volume, notwithstanding their diversity of subject matter and approach, share a concern with the contexts to which we need to refer in order to understand not only the origins, but also the potential of Mikhail Bakhtin's thought: contexts both immediate and oblique, personal and impersonal, intellectual and theoretical. Five of the essays are by well-known Russian scholars whose work on Bakhtin has not previously been translated in English; the other nine papers are by established and emerging Bakhtin specialists in North America, the United Kingdom, and Europe.
David Dowland presents one of the first analytical accounts of Anglican theological training during its formative period, the nineteenth century. Until this time Oxford and Cambridge had been recognized as the most desirable sources of Anglican clergymen, but there was to be an upsurgence oflittle-known colleges attended by lower-middle-class ordinands which cut across the assumption that the training received at the fashionable colleges was superior. Dowland discusses the official attitudes towards the innovation of training large numbers of middle-class and lower-middle-class menfor the ministry in an industrial age where a shift of power to the lower classes was widespread.
The “secular age” is not a smooth, untroubled process of accumulation and advance but an uneven and unpredictable series of clashes of interest. Charles Taylor’s “immanent frame” cannot be construed merely as a phenomenon within religion and culture but urgently needs to be understood in political and economic terms–i.e., as a class project. The failure of the secular, vividly displayed in the crumbling legitimacy of global institutions and in the spectacle of police violence, both calls for and makes possible a renewal of political agency. Tom James and David True argue that a theology of the cross has a distinctive potential today: it can pierce the sacred aura of normalcy around the consensual anti-politics of the neoliberal order so that a vision of a world beyond today’s racialized capitalism can emerge. But they contend that we don’t need to forsake the emancipatory aims of modernity nor retreat to local communities. As an alternative to these weak strategies, they offer a constructive and cruciform account of political agency that includes both prophetic resistance and practical wisdom, each embedded in contemporary struggles for freedom that, they argue, embody divine desire for a common world.
Using Leberecht Migge (modernist landscape architect) as a base, Haney creates a comprehensive history of German ecological design. Linking with modern ideas of "green" design, this is a unique look at how one man changed the way planning could unite house and garden.
This book turns our search for intimacy on its head, suggesting that our way to creativity in love may be through idiocy. The book takes its readers on a journey through the work of Plato and Melanie Klein in theorizing the dynamics of intimacy while exploring some of the paradoxical aspects of love in works by Fyodor Dostoevsky and French filmmaker Catherine Breillat. Revisiting core concepts of how we think about relationships, the book lays out a model for relational breakdown—the idiot lovecycle—in which we are constantly in the flux between seeing ourselves and seeing the other. Effecting close readings of literary, philosophical, and psychoanalytical sources, the book draws on parallels between these fields of inquiry while tracing their shared intellectual genealogy, suggesting that the tension between Narcissus and Cassandra, with its inherent conflicts, is also the space through which love emerges from intimacy.
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