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The photographs, quotes, and anecdotal text in '93 til captures a time in skateboarding when making a livable income as a professional skater was a luxury and public understanding of skateboarding was at an all-time low.

Anti-trend humanises the concept of sustainability and offers concrete guidelines on how to design and live sustainably.

The impact of artificial intelligence in the discipline of architecture is unavoidable and undeniable. The recent mass adoption of highly accessible machine learning tools including DALL-E, Stable Diffusion, and Midjourney has allowed designers to test their limits and assess their role as an author in the design of the built environment. This book will include speculations on the introduction of artificial intelligence bots/apps into architecture and feature a collection of works from eighteen architects and designers who are interrogating current AI applications. Within each chapter, authors put forth a position through a framework consisting of theory and application lenses. Additionally, interviews from leading practitioners will offer insights into the current curiosities fueling investigation. This book will incite dialogue about the potential of AI as an ideation device and extension of the architect's authorship. As a part of this work, curation plays an important role as the technology generates content at an incredible pace. Architectural design thinking will have to reconcile the injection of this new tool and this book will speculate on the current state in its infancy.

What Kind of Architect Are You? offers a glimpse into a vast array of professional possibilities and points out meaningful alternatives to the prevailing myth of the 'starchitect'. It provides those in search of an architect with insights into how we work and helps them to formulate expectations.

A cross-cultural study of the origins of modern landscape architecture in England, USA and Japan as seen through the work of Christopher Tunnard and Sutemi Horiguchi

An exploration of the dialogue that is essential to the design process.

In celebration of his 50th year in practice, architect Will Bruder is pleased to share this selection of his most-exemplary projects, presented through hundreds of gorgeous photographs, drawings, and original sketches.Influenced by Frank Lloyd Wright, as well as Paolo Soleri, Bruce Goff and Gunnar Birkerts, Bruder opened his own design studio in 1974. His self-built house/studio on the desert edge of Phoenix won the 1975 Architectural Record House of the Year award.A Fellowship in Architecture at the American Academy in Rome was a career turning-point permitting several months of intense reflection from a studio overlooking Rome, and travel throughout Europe to study historic and contemporary architecture.XXFilled with fresh perspective, Bruder won the commission to design the 280,000sf Phoenix Central Library. It opened in 1995. Cultural, civic and private commissions followed, as did opportunities to travel, lecture, and teach. The library was awarded the AIA 25 Year Building Award in 2021.This superb collection is divided into two sections: pre-Rome Prize projects, presented in black and white, and post-Rome projects dating from 1987 to buildings still currently under construction, presented in color. Scholarly essays and candid conversations with colleagues round out this long-awaited Bruder monograph.

An insightful collection of essays on the overlooked sign. Each chapter explores the extraordinary connection that culture and society have to this common object. The book blends historical overview, graphic taxonomy, and design criticism on eleven signage types, ranging from signs that say no, to pharmacy signs, and all in-between. Every chapter uncovers the reasoning and logic of how and why our built environment is annotated the way it is form the simplest of signs to the largest of signs.

Art historian by training, gallerist and art dealer by profession, Annina Nosei is an essential art-world figure.While still a student of the celebrated Giulio Carlo Argan at Rome's Sapienza University, she took part in the first Happenings to export the cutting edge of 1960s US art to Europe. Completing her studies in the early sixties with a thesis on Marcel Duchamp, she promptly began her professional career at Ileana Sonnabend's renowned Parisian gallery. Relocating to the United States soon after, she moonlighted as a freelance curator while lecturing at various universities, ultimately leading to the launch of her gallery in 1980: the enterprise that would cement her place among the international art world's outstanding figures.

Petra Rephotographed represents an exploration of time and change across the iconic archaeological city of Petra, Jordan, through repeat photography--meticulously replicating historic images of the landscape and monuments a century later.>Studying Petra a century later, now a UNESCO World Heritage Site and one of the New Seven Wonders of the World, Dr. Groom visualizes the profound resiliency of the indomitable Rose Red City through modern imagery and observes the influence humans have had on the landscape for generations. Petra Rephotographed takes the reader on a historic photographic journey, incorporating meticulously replicated images of the past which help the reader visualize changes and evolution of the archaeological city's iconic monuments and timeless landscapes.

This book is about architecture, but not about formal architectural images. It is about the people who inhabit and use buildings and places. It is about the people who have made and will make buildings and places. It is a book about subjects and themes that directly impact the lives of the people who will utilize these efforts. All these issues open the door to the systematic investigation of the question of value, of what works and what does not, of what is good and bad. Inside the academy, it questions the accepted dogma of subjectivity and neutrality in traditional teaching, particularly as it applies to subjects of taste and perception in architecture. Outside the academy, it requires a willingness to engage with the community in ways much different from traditional detached observation and recordation. The result is a much different and much more sensitive relationship between architects and their clients, teachers and their students, and even between students and their peers. Effectively, it points to the need of a seminal change in the way we look at the production of architecture as a whole today. Nothing is lost: not beauty, not individuality, nor the eagerness to experiment with form. The wonder of it all is that there is everything to gain.

Framework Thinking distills key lessons in creating extraordinary design outcomes. It shares how the clarity, power, and enduring presence of an inspired vision can be increased through holistic thinking, inclusive collaboration, and intentional process - in short, a framework thinking mindset. Reflecting on decades of planning and design experience, and recent projects together, Bill Johnson and Har Ye Kan address the search for more complete, meaningful solutions. As an attitude, Framework Thinking features a 'context-centered' frame of mind, where every turn of the process, from start to finish, points to the larger picture of people and place. While seeking short-term, achievable, design outcomes, Framework Thinking also embraces the long-term visionary guidance in the early discovery stages. Finding this 'big idea' in the structure of the place is often the difference maker in shaping communities of distinction. In short, Framework Thinking is an encouragement to see more, to expect more, and to offer a way forward to the stewardship of our common good by making the little choices for digging deeper and thinking bigger.

This third volume in the monograph series of work by Jones, Partners: Architecture picks up where the previous volume El Segundo left off. After 10 years in El Segundo the office has relocated near Sciarc in the arts district of DTLA (Downtown Los Angeles) where Jones is teaching and many of the team members have matriculated or are studying.>This third volume in the monograph series of work by Jones, Partners: Architecture continues the coverage of the firms "words, buildings, machines," in the same signature graphic form that made the previous two volumes inspirational collector's items.

Neither an architect nor a landscape architect, Pechet might best be described as an urban acupuncturist.As a keen observer of interactions between animate beings and inanimate things, Pechet has sensitively mended public spaces in Canada and the United States for decades, designing strategic and delightful interventions in public parks and plazas, waterfronts and streetscapes, LRT stations and cemeteries. As a beloved teacher, he has also educated generations of architecture and design students at the University of British Columbia to approach their work with the same sense of curiosity and adventure he brings to his own. Despite Pechet's extensive body of work, nearly all of which is publicly accessible, he remains little known internationallyThis project aims to correct that oversight by extending the collaborative nature of Pechet's own practice to include talent from Europe, South America, the United States and Canada. With each collaborator presenting their unique perspective on the work, this monograph will be unusually complex and multivalent.A fulsome monograph on the work of Bill Pechet is long overdue. This book will be a rich and joyful celebration of a talented and beloved Canadian artist, designer and teacher who has much to offer us all.

Manhattan is commonly regarded as an iconic island-territory of the twentieth century. Conventional representations reinforce its reading as an urban condition resulting from neoliberal capitalism. These forces have expanded the city grid and extruded its architectures as a laboratory of urban ideas. >With a focus on iconic city representations, the book examines distinct logics that try to make capitalist progress compatible with its territorial conditions. Even though these logics of land, water and ground - here called geologics - are perhaps less dominant than the dense urban culture and, therefore, less predominant in the representation of the city, they are still important to explain why Manhattan evolved to its current condition. The book explores these geologics through relationships between three nineteenth-century plans of Manhattan and three late-twentieth-century architectural manifestos - Delirious New York (Rem Koolhaas), The Manhattan Transcripts (Bernard Tschumi), and Lower Manhattan (Lebbeus Woods). Plans and manifestos are explored creatively through design experimentation that retrospectively repositions these representations from the perspectives offered by the Anthropocene. With an intricate connection between image, text, and installation, the book is an open invitation to radically interconnected imagination. Geologics advocate for architecture to become a productive and fluid mediation between city and geology. They propose a reconfiguration of urban territories as resilient hybrid possibilities amongst accelerated change and large-scale geoengineering.

Reimagining Environmental Identity by Ping Jiang presents a compelling exploration of architectural practice designed to navigate the dynamic urban landscapes of China and beyond. The book showcases 19 diverse projects from Jiang's studio, reflecting a novel approach to architecture that engages deeply with social, cultural, technological, and environmental issues. Rather than adhering to conventional architectural norms, Jiang's practice emphasizes the creation of meaningful, context-sensitive designs that foster a profound connection between people and their environment. Through a range of projects, from high-rise buildings to urban interventions and civic structures, the monograph highlights a non-linear design process that blends spatial experience with cultural relevance and environmental sensitivity. It underscores the importance of forging a unique sense of place and identity in architecture, advocating for designs that resonate with both local and global contexts. This collection offers insights into how contemporary architecture can address the complexities of urban life while preserving and enhancing cultural and environmental values.

Ever more technologies are being created to sense our environment, and much is being learned about how animals and plants sense theirs. We often think of these tools as extending our capacity for sensing what is not available through natural human perception. But what is "natural" about human perception? Not as much as was once believed, it turns out. Many of the contributors to LA+ SENSE consider how our senses have become naturalized, and our bodies and experiences standardized. Topics also include sense and surveillance, sense of place, and whether we can even trust our senses. Edited by Karen M'Closkey, contributors include Elena Abbiatici, Sarah Coleman, Tim Cresswell Lisa Yin Han, Ai Hisano, David Howes, Mark Kingwell, Jia Hui Lee, Gascia Ouzounian, Kris Paulsen, Sally Pusede, Erin Putalik, Douglas Robb, Chris Salter, Alexa Vaughn, Alexa Weik von Mossner, and Mark Peter Wright.

Between Shadow and Light probes Maryann Thompson's commitment to an architecture that is sustainable and regionally driven and her penchant for heightening the experiential qualities of each project through a holistic, consensus-building approach to design. Between Shadow and Light is the first comprehensive monograph on the work of Cambridge-based architect Maryann Thompson. As one of her clients recently declared, Thompson inhabits a "liminal" space, a space of both-and, of inside and outside, of light and shadow. It is a dialogic space, a position from which to examine a situation from multiple perspectives, to facilitate opportunities for discussion, and, ultimately, to seek a consensual basis for design. For Thompson, architecture is the stage on which we live out our lives, a philosophy that foregrounds its inherent symbolism, its ability to arouse our emotions, to challenge our preconceptions, and to provide sites of individual solace and respite from quotidian affairs as well as of heightened collective interaction. Her inclusive design process encompasses extended conversations with clients, patrons, users, and ultimately with the public at large--all envisioned as a means to address the collective social dimension of the work. To address the myriad ways in which certain prominent themes in the work transcend notions of chronological development or typological classification, the book has a tripartite organization. A set of essays on certain theoretical starting points is followed by an elaboration of distinctive architectural themes. It concludes with brief analyses of selected examples of the work, grouped according to programmatic type.

It could be said that Walter Gropius laid the cornerstone of modern architecture in 1919 by founding the Bauhaus. As a result, modern architecture is now over 100 years old. This first century of modernism has come to a close with a mixed review. Enthusiasm for its achievements goes hand in hand with a discontent about a sizeable portion of its outcome, as well as its effect on the natural and built environments. The most vocal supporters of these modernist ideals crafted epic claims that modernism was bound to deliver progressive and humane environments. Alas, the follow through of those promises was uneven at best. Can we update this ideological framework, establishing a new outlook that is both open-ended and operational? If the first century of modernism can be considered an architecture of abstraction and ideas, then what might we design if we turn our attention, in this second century of modernism, to an architecture of emotional abundance? Second-Century Modernism creates an architecture of richness and community by placing a higher priority on emotional meaning, through a shift in the design process that balances the rational with the intuitive, and a "Less + More" approach to expanding the range of cultural values we can inclusively balance in our environments. It welcomes you to embrace the paradoxical qualities of human existence.

The book offers a new conceptual and historical framework for the study of Kocher's body of work that relocates it within the history of American modern architecture.>Kocher's ideological position and his continuous eagerness for experimentation transformed him into an atypical practitioner. While many of his contemporaries were purely design focused, he established a very avant-garde symbiosis among his three main endeavors: his work as an educator, as a scholar, and as a practitioner. Some of his architectural works can be seen as manifestos that would later further develop in the articles of Architectural Record. Some others are the direct and material demonstrations of industrial systems and materials previously explored in his articles. Even other works are conceived and executed as part of a pedagogical activity. It is rare to find an architectural design in Kocher's body of work that does not demonstrate a multitude of interconnections among his pedagogy, his editorial work, and his scholarship.

This book is a photographic journey-complemented by a collection of academic essays on related historical, architectural and artistic topics-on the origin and life of "Africa Hall" in Addis Ababa, Ethiopia.