{"title":"Writing Architecture","description":"\u003cp\u003eDelve into the minds of architects and explore the art of writing about buildings. Discover books that blend design, history, and theory – ideal for students and seasoned professionals alike.\u003c\/p\u003e","products":[{"product_id":"differences-book-ignasi-solamorales-9780262540858","title":"Differences","description":"\u003cb\u003eDifferences brings together ten essays written over the past decade by the distinguished Spanish architect and theorist Ignasi de Sol -Morales. \u003c\/b\u003e\u003cp\u003e\u003ci\u003eDifferences\u003c\/i\u003e brings together ten essays written over the past decade by the distinguished Spanish architect and theorist Ignasi de Sola-Morales. Many of the essays have never previously been translated, and the author has provided a new introduction especially for this English edition.\u003c\/p\u003e\u003cp\u003eContemplating the panorama of contemporary art and architecture, de Sola-Morales posits that there is no one way to describe today's practice; instead he concentrates on elucidating the present dynamic of contrast, diversity, and tension.\u003c\/p\u003e\u003cp\u003eIn an unorthodox pairing, de Sola-Morales derives his inspiration from both phenomenology and Deleuzean poststructuralism. Combining these philosophical inheritances allows him to reinvoke the human subject without referring to classical humanism or announcing the death of the object. His retrospective review of the disciplines of art and architecture, particularly as they have developed since World War I, provokes him to design, draft, and ultimately build a description of Modernism s lineage of subjectivity. The result is a provocative construction of fluid topographies that articulate, rather than depict, the shaky ground on which our current artistic and architectural production rests.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe essays\u003c\/b\u003e \u003cbr\u003eSado-masochism: Criticism and Architectural Practice. Topographies of Contemporary Architecture. Mies van der Rohe and Minimalism. Architecture and Existentialism. Weak Architecture. From Autonomy to Untimeliness. Place: Permanence or Production. Difference and Limit: Individualism in Contemporary Architecture. High-Tech: Functionalism or Rhetoric. 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As art melts into spatial construction and architecture mobilizes artistic vision, Bruno argues, a new moving space-a screen of vital cultural memory-has come to shape our visual culture. Taking on the central topic of museum culture, Bruno leads the reader on a series of architectural promenades from modernity to our times. Through these \"museum walks,\" she demonstrates how artistic collection has become a culture of recollection, and examines the public space of the pavilion as reinvented in the moving-image art installation of Turner Prize nominees Jane and Louise Wilson. Investigating the intersection of science and art, Bruno looks at our cultural obsession with techniques of imaging and its effect on the privacy of bodies and space. She finds in the work of artist Rebecca Horn a notable combination of the artistic and the scientific that creates an architecture of public intimacy. Considering the role of architecture in contemporary art that refashions our \"lived space\"-and the work of contemporary artists including Rachel Whiteread, Mona Hatoum, and Guillermo Kuitca-Bruno argues that architecture is used to define the frame of memory, the border of public and private space, and the permeability of exterior and interior space. 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In these essays, philosopher Elizabeth Grosz explores the ways in which two disciplines that are fundamentally outside each another--architecture and philosophy--can meet in a third space to interact free of their internal constraints. Outside also refers to those whose voices are not usually heard in architectural discourse but who inhabit its space--the destitute, the homeless, the sick, and the dying, as well as women and minorities. Grosz asks how we can understand space differently in order to structure and inhabit our living arrangements accordingly. Two themes run throughout the book: temporal flow and sexual specificity. Grosz argues that time, change, and emergence, traditionally viewed as outside the concerns of space, must become more integral to the processes of design and construction. She also argues against architecture's historical indifference to sexual specificity, asking what the existence of (at least) two sexes has to do with how we understand and experience space. Drawing on the work of such philosophers as Henri Bergson, Roger Caillois, Gilles Deleuze, Jacques Derrida, Luce Irigaray, and Jacques Lacan, Grosz raises abstract but nonformalistic questions about space, inhabitation, and building. 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From poststructuralism and deconstruction to current theories of technology and nature, critical theory has long been closely aligned with architecture. In turn, architecture as a thinking profession materializes theory in the form of built work that always carries symbolic loads. In this collection of essays, Catherine Ingraham studies the complex connectivity between architecture's discipline and practice and theories of philosophy, art, literature, history, and politics. She argues that there can be no architecture without theory.  Whether considering architecture’s relationship to biomodernity or exploring the ways in which contemporary artists and designers engage in figural play, Ingraham offers provocative interpretations that enhance our understanding of both critical theory and architectural practice today. Along the way, she engages with a wide range of contemporary theorists, including Giorgio Agamben, Judith Butler, Jacques Derrida, Graham Harman, and Timothy Morton, considering buildings around the world, including the Palace of Culture in Warsaw, the Viceroy’s House complex in New Delhi, Mack Scogin and Merrill Elam's Wolfsburg Science Center project in Germany, and the Superdome in New Orleans. Approaching its subject matter from multiple angles, Architecture’s Theory shows how architecture's theoretical and artifactual practices have a unique power to alter culture.","brand":"WoB","offers":[{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":49668707123473,"sku":"GOR013767946","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ GARDNERS","offer_id":49751263314193,"sku":"NGR9780262544979","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ VERY_GOOD \/ SBYB","offer_id":50347482579217,"sku":"CIN0262544970VG","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ GOOD \/ SBYB","offer_id":52629045117201,"sku":"CIN0262544970G","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0262544970.jpg?v=1751133285"},{"product_id":"histories-of-the-immediate-present-book-anthony-vidler-9780262720519","title":"Histories of the Immediate Present","description":"\u003cp\u003e\u003cb\u003eHow the different narratives of four historians of architectural modernism--Emil Kaufmann, Colin Rowe, Reyner Banham, and Manfredo Tafuri--advanced specific versions of modernism.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eArchitecture, at least since the beginning of the twentieth century, has suspended historical references in favor of universalized abstraction. 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Vidler's investigation demonstrates the inevitable collusion between history and design that pervades all modern architectural discourse--and has given rise to some of the most interesting architectual experiments of the postwar period.\u003c\/p\u003e","brand":"WoB","offers":[{"title":"US \/ GOOD \/ SBYB","offer_id":49677706133777,"sku":"CIN0262720515G","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ GOOD \/ INTERNAL","offer_id":52109063389457,"sku":"GOR009780131","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":52626476630289,"sku":"GOR007536827","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0262720515.jpg?v=1751070453"},{"product_id":"on-accident-book-edward-eigen-9780262534840","title":"On Accident","description":"\u003cp\u003e\u003cb\u003eEngaging essays that roam across uncertain territory, in search of sunken forests, unclassifiable islands, inflammable skies, plagiarized tabernacles, and other phenomena missing from architectural history.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eThis collection by architectural history's most beguiling essayist (as Reinhold Martin calls the author in the book's foreword) illuminates the unfamiliar, the arcane, the obscure--phenomena largely missing from architectural and landscape history. These essays by Edward Eigen do not walk in a straight line, but roam across uncertain territory, discovering sunken forests, unclassifiable islands, inflammable skies, unvisited shores, plagiarized tabernacles. Taken together, these texts offer a group portrait of how certain things fall apart.\u003c\/p\u003e\u003cp\u003eWe read about the statistical investigation of lightning strikes in France by the author-astronomer Camille Flammarion, which leads Eigen to reflect also on Foucault, Hamlet, and the role of the anecdote in architectural history. We learn about, among other things, Olmsted's role in transforming landscape gardening into landscape architecture; the connections among hedging, hedge funds, the High Line, and GPS bandwidth; timber-frame roofs and (spider) web-based learning; the archives of the Houses of Parliament through flood and fire; and what the 1898 disappearance and reappearance of the Trenton, New Jersey architect William W. 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Drawn with wit and grace, these clever sketches do not try to please or flatter the architectural establishment. Rather, they make an impassioned argument against what Krier sees as the unquestioned doctrines and unacknowledged absurdities of contemporary architecture. Thus he shows us a building bearing a suspicious resemblance to Norman Foster's famous London \"gherkin\" as an example of \"priapus hubris\" (threatened by detumescence and \"priapus nemesis\"); he charts \"Random Uniformity\" (\"fake simplicity\") and \"Uniform Randomness\" (\"fake complexity\"); he draws bloated \"bulimic\" and disproportionately scrawny \"anorexic\" columns flanking a graceful \"classical\" one; and he compares \"private virtue\" (modernist architects' homes and offices) to \"public vice\" (modernist architects' \"creations\"). Krier wants these witty images to be tools for re-founding traditional urbanism and architecture. He argues for mixed-use cities, of \"architectural speech\" rather than \"architectural stutter,\" and pointedly plots the man-vehicle-landneed ratio of \"sub-urban man\" versus that of a city dweller. In an age of energy crisis, he writes (and his drawings show), we \"build in the wrong places, in the wrong patterns, materials, densities, and heights, and for the wrong number of dwellers\"; a return to traditional architectures and building and settlement techniques can be the means of ecological reconstruction. 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Drawn to architecture because it provides an open series of structural models, Damisch examines the origin of architecture and then its structural development from the nineteenth through the twenty-first centuries. He leads the reader from Jean-Francois Blondel to Eugene Viollet-le-Duc to Mies van der Rohe to Diller + Scofidio, with stops along the way at the Temple of Jerusalem, Vitruvius's \u003ci\u003eDe Architectura\u003c\/i\u003e, and the Louvre. In the title essay, Damisch moves easily from Diderot's \u003ci\u003eEncylop'die\u003c\/i\u003e to Noah's Ark (discussing the provisioning, access, floor plan) to the Pan American Building to Le Corbusier to Ground Zero. Noah's Ark marks the origin of construction, and thus of architecture itself. 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