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Transcript of Wiley Architecture and Design 2010
ARCHITECTUREDESIGN&
2010
2
Highlights for the year:
• The Architecture of Emergence: The Evolution of Form in Nature and Civilisation
• I Wish I Worked There! A Look Inside the Most Creative Spaces in Business
• Architecture and Beauty: Conversations with Architects about a Troubled Relationship
• Autopoiesis of Architecture: A Conceptual Framework for Architecture
• Exuberance: New Virtuosity in Contemporary Architecture
Architecture and Design 2010Welcome to Wiley’s new Architecture and Design catalogue. This year’s catalogue offers our characteristically broad range of books – everything from professional guidance to creative inspiration.
This year we’re also celebrating the 80th birthday of one of our leading brands – Architectural Design (AD). Founded in 1930, AD remains an influential and prestigious publication, and this year’s issues continue the tradition of being at the cutting edge of architectural thought and design.
The Architecture Team
Contact us:For sales and marketing queries please contact Lorna Mein +44 (0) 1243 770624 / [email protected]
For publicity queries please contact Caroline Baines +44 (0) 1243 770674 / [email protected]
If you would like to discuss rights purchase for our titles please contact Julie Attrill +44 (0) 1243 770517 / [email protected]
3
Key Titles 4
Architectural Design (AD) 14
AD Primers 20
Sustainable Design 22
Drawing, Drafting and Rendering 30
Academic Books 34
Professional Practice 36
Graphic Standards Field Guide 42
Building Type Basics 43
Interior Design 44
Graphic Design 46
Contents
4
A Look Inside the Most Creative Spaces in Business Kursty Groves with Will Knight, photography by Edward Denison
978-0-470-71383-9 Hardback 256pp£39.99 Feb 10
Revealing some of the world’s most inspiring workplaces, I
Wish I Worked There! investigates the way 20 famous brands
have put innovation at the heart of their culture. Photographs
and illustrations detail the way in which companies
accommodate creative activity through spaces that stimulate,
enable reflection, promote collaboration and encourage
play. Easy-to-adopt principles assist the design, creation or
selection of spaces that support creative endeavour. Never
before has a title looked specifically at how the working
environment fosters the flow of ideas from both practical and
emotional perspectives – with business results.
• Each case study is extensively illustrated with new
photography by Edward Denison and diagrams by Will
Knight that detail activity
• Behind-the-scenes interviews reveal insights that show
what makes a space really work, while business metrics
evidence the birth of ideas, breakthroughs and successes
• Includes foreword by Ivy Ross, Executive Vice President of
marketing for The Gap Brand at Gap, Inc
I Wish I Worked There!
About the authors:
Kursty Groves is a design and innovation consultant,
presenter and co-founder of Headspace, a consultancy
specialising in creative spaces for business
Will Knight is a freelance designer and illustrator
Featured companies:
Aardman Animations, Ltd • Bloomberg LLC • DreamWorks
Animation • Dyson • Electronic Arts • Google Inc • Hasbro
• Innocent Drinks • Johnson & Johnson • The LEGO Group
• Nike Inc • Oakley • Philips Design • Procter & Gamble •
Sony Design • Sony Music • T-Mobile • Urban Outfitters •
Virgin • Walt Disney Imagineering
107INNOCENT DRINKS
Contribution is also elicited from consumers. Innocent ‘drinkers’ have an open invitation to visit Fruit Towers:the warm, friendly and approachable internal nature at Innocent is applied to external friends too. With FruitTowers located ‘off the beaten track, you know the people who make the effort to come and visit do care,’says Dan Germain. This inclusive approach encourages customers to provide feedback and ideas aroundInnocent’s products, all of which are prominently displayed.
INFORMAL AND INEXPENSIVE
Nothing in the Innocent offices costs much; the majority of the environment budget is spent on the basic fabricof the building and the focus is on keeping things simple, natural, open and light. Everything else is informal andinexpensive; ‘not swish, much to the frustration of architects who saw this space and thought, “Fabulous, let’sreally go to town with this,’’’ Jenny Wilson recalls.
This attitude is reminiscent of the original entrepreneurial spirit that continues to thrive and encourages asense of resourcefulness. It gets people thinking about how they can create a fun environment in new anddifferent ways, rather than heading straight to the office equipment store, where everything is uniform andexpensive. The location of the business reflects the importance of keeping things practical and inexpensive. Itis not located in an area of high property prices, and doesn’t compromise on the amount and quality of space.‘Ours is the ugliest building in the world from the outside,’ remarks Germain, ‘but inside it’s perfect – we’vebeen able to grow and spread.’
106 I WISH I WORKED THERE!
OPPOSITE AND BELOW LEFT TheDevelopment Kitchen is where newsmoothies are invented. Made visiblebehind glass and located in the centre ofFruit Towers, people are encouraged tocontribute their ideas for new flavours.
BELOW Innocent ‘drinkers’ receive anopen invitation to visit Fruit Towers, andthe evidence of their passion for thebrand and product is proudly displayed.
109INNOCENT DRINKS108 I WISH I WORKED THERE!
CHEEKY LITTLE TOUCHES
A distinct aspect of Innocent’s brand is its tongue- in- cheek sense of humour and no- nonsense approach to business that has not only helped to create a unique product inthe marketplace, but also supports a creative culture where employees are free to havefun and share ideas, no matter how crazy they may seem. ‘We add little touches to ourproducts and our packaging to show drinkers there’s a human being behind them,’ saysGermain. Refreshing, natural and straight- talking, with nice, cheeky little surprises. As aconsumer, that’s what you experience with the Innocent product and brand. This isreflected so well in the physical environment, through some of the fun choices for thematerials and details, the use of fun language in communications, and the continuouscontribution from the people who work at Fruit Towers to keep things ‘Innocent’.
TOP The human tone of language employed by Innocent on itspackaging and external communications is reflected internally. Babypictures of employees surround Innocent values.
ABOVE ‘The Big Knit’: a portion of profits from every drink sold with a hand- knitted smoothie hat is donated to Age Concern to support olderpeople in the winter months.
ABOVE Innocent’s main space and the ‘hub’ of the building:A. Shed- like rooms provide private meeting areas that are visuallyconnected to the main space with glass doors and windows.B. Diner- style booths allow for impromptu or casual meetings.C. Skylights throughout the buildings provide ample natural light.D. A large drop- down screen for company meetings or watchingbig events.E. Potted trees are dotted throughout the space.F. A red telephone box doubles up as an Internet station forguests and a quiet place for private calls.G. The mezzanine level provides additional desk space withoutcompromising the open- plan feel.H. The large, accessible family- style kitchen at the heart of thebuilding is always alive with conversation.
A B
C
DE
F
G
H
98 I WISH I WORKED THERE!
INNOCENT Drinks is a UK- based fruit smoothie company, founded in 1999
by three college friends, Adam Balon, Richard Reed and Jon Wright. These
Cambridge graduates were only a few years out of college, working for other
firms and with no previous experience of running their own company. Their
business idea was conceived on a weekend snowboarding trip, based on their
perception that most people find it difficult to get their daily intake of vitamins
and minerals from natural ingredients. The trio set out to create honest
drinks with fresh fruit and ‘no nasties’ and spent their evenings and weekends
developing a plan and product, before ‘test marketing’ with £500 worth of
fruit. Innocent now employs around 240 people, with offices in London, Paris,
Hamburg, Copenhagen, Dublin, Stockholm and Salzburg.
Did you know ... ?... that Fruit Towers,Innocent’s head office,actually comprises six single- storey sheds that
have been knockedtogether on an industrial
estate in West London?
ABOVE Innocent smoothies are made withfresh fruit and ‘no nasties’.
OPPOSITE Innocent enjoys a relaxed yetbuzzy atmosphere. Picnic benches andAstroTurf flooring encourage employees tokick off their shoes.
INNOCENT DRINKSFRUIT TOWERS, SHEPHERD’S BUSH, LONDON, UKDESIGN: IN- HOUSE DESIGN TEAM, 2000MEZZANINE AND FINAL EXTENSION: IN- HOUSE TEAM WITH HELP FROM JUMP STUDIOS, 2007
5
6
The Evolution of Form in Nature and Civilisation Michael Weinstock
978-0-470-06632-4 Hardback 280pp £90.00 Feb 10
978-0-470-06633-1 Paperback £29.99
This scholarly and radical book expands the conventional
worldview by placing human development alongside
ecological development: the history of cultural evolution and
the production of cities are set in the context of processes
and forms of the natural world. The emergence of the human
species and the evolution of culture are shown to be closely
coupled to the changes in climate and ecology, while it is
described how humans have extensively modified the surface
of the earth, the ecological systems that exist upon it, and
the climate.
• The first half of the book is focused on the complex
systems of the physical world – the forms and processes
of the climate, the land surface of the earth, the emergence
and evolution of all living species and of genetics, followed
by the dynamics of individual and collective metabolisms
from which intelligence, social and spatial orders emerge.
• The second half of the book is focused on the evolution
of human culture in relation to climate and ecology and
the episodic collapse and reorganisation of cultural and
ecological systems.
The Architecture of Emergence:
• Drawing from the life sciences, anthropology, archaeology
and the evolution of human culture, The Architecture of
Emergence is as expansive in its thinking as its reach.
Michael Weinstock is an architect and a distinguished
academic. He now teaches at the Architectural Association,
and has published, taught and lectured across the world for
many years.
13NATURE AND CIVILISATION
1.2 Eroded MountainThe morphology of the surface ofthe earth emerges from theinteracting processes of the molteninterior and the exposure of thesurface to the continuousprocesses of erosion. Theseprocesses are produced by theclimate, and changes to theclimate change the behaviour,duration and force of each process.Erosion has worn down the entiremountain, exposing the layeredrock strata surrounding theremnant core.
The understanding that the earth is very old, that it too has a history of many
changes, and that the forms of living creatures were different in the past because
of those changes, began to be developed in the 18th century. The recognition
that changes to the form of organisms, and that the environment plays some part
in that change, came in the same century. The first systematic examination of
fossil evidence, right at the beginning of the 19th century by the French naturalist
Georges Cuvier, contains methodical and detailed studies of the shapes of fossil
mammoth bones found in Europe and Siberia that demonstrated their differences
from living elephant species.4 This comparative morphological study of vertebrate
palaeontology established that there is a common skeletal plan for all vertebrate
010-041-WE-Chap1 6/1/10 17:29 Page 13
10 THE ARCHITECTURE OF EMERGENCE
1.1 Boiling WaterThe rising bubbles of steam in boiling water exhibit some of thecharacteristics of emergence – a large number of simplecomponents, in this case water molecules, and heat energy fromthe environment. It is possible to predict exactly when pure waterwill boil (at 100º Celsius at the standard atmospheric pressure of101325 pascals) but it is not possible to predict the position orform of any individual bubble of steam.
010-041-WE-Chap1 6/1/10 17:29 Page 10
11NATURE AND CIVILISATION
1 Nature and CivilisationHumans and all other living beings emerge from, and exist within, thedynamic processes and phenomena of the natural world, and they havehad and continue to have a profound effect upon it. All forms of natureand all forms of civilisation have ‘architecture’, an arrangement of materialin space and over time that determines their shape, size, behaviour andduration, and how they come into being. Energy, information and materialflow through all the forms of the world, and human forms and culture havecoevolved and developed within those flows.
We are accustomed to think of ‘nature’1 as all that is wild and untouched,
landscapes of forests, grasslands, shorelines and seas, separate from, and
unsullied by, the activities of mankind. In this enduring image the world turns,
the seasons come and go, and life is abundant. Man is different, set apart from
the wild, with a life that is ordered by culture and technology. This inherited
image is ancient, a cultural legacy that derives from creation myths and religious
concepts of paradise. Paradise was conceived as a walled orchard garden or an
enclosed hunting park, an enclosure of wild nature, but protected from the
worst dangers of the wild. Nature, created by God, was innocent, beautiful and
divine, and sin entered the world only through human corruption. That concept
persists today in the distinction that is commonly made between the purity of
virgin nature and the depredations of technology. An alternative but equally
persistent concept is that mankind was created for the perfection of nature; and
that the natural world is there for the benefit of man, and in dominating the
natural world so it is sanctified.
The understanding that human beings, together with their artefacts, are part of
nature, has a much shorter history of only 400 years or so. The construction of
a systematic study of a ‘natural history’ was first proposed by Francis Bacon in
1620, and is one of the earliest projects of science. His proposed study of nature
included ‘things artificial’, the works of mankind as a manipulation of nature.
‘Natural History’ should be split into three interrelated domains; the study of
ordinary or usual nature, of deviant nature, and of nature manipulated by man.
Nature produces the ‘history of generations’ or species that develop in the
ordinary course, or nature is forced from the ordinary course by the perversity of
matter and produces monsters, or nature is constrained and moulded by
mankind to produce the artificial. Furthermore, the three regimes were not to be
010-041-WE-Chap1 6/1/10 17:29 Page 11
the land, the biosphere and the atmosphere are traced; and the processes that
produce the forms of the atmosphere are presented. The global climate is the
metasystem, a system of systems, with an intricate choreography of forms and
behaviour that modulates the exchange of energy and material of all other
systems, and in turn is affected by their processes. The geomorphic processes
from which the forms of the land emerge are examined in Chapter 3. The
processes of weathering, erosion and deposition are produced by the climate,
and variations and changes to the climate change the behaviour, duration and
force of each process. In turn, geomorphic processes also contribute to the
generation of feedbacks to the climate metasystem through positive and
negative feedbacks including changes in the reflectivity of surfaces, the
production of ‘greenhouse’ gases that change the chemical composition of the
atmosphere, and the aerosols from desiccated soils and deserts. Chapter 4
explores the emergence of living forms from two strongly coupled processes,
operating over maximally differentiated time spans; the rapid process of
embryological development from a single cell to an adult form, and the long
slow process of the evolution of diverse species of forms over extended time.
38 THE ARCHITECTURE OF EMERGENCE
1.11 Urbanisation of the WorldThe world at night indicates thedensity of urban concentrations,and changes in illuminationfrom 1993 to 2003. The lightsare colour-coded. Red lightsappeared during that 10 years.Orange and yellow areas areregions of high and low intensitylighting respectively thatincreased in brightness over the10 years. Grey areas areunchanged. Pale blue and darkblue areas are of low and highintensity lighting that decreasedin brightness. Very dark blueareas present in 1993 haddisappeared by 2003. Theabundance of red and yellow onthe map indicates the pace ofrecent urbanisation and suggeststhe overall pattern of highenergy flow across the world.
010-041-WE-Chap1 6/1/10 17:29 Page 38
The evolution of the species is constrained by the dynamics of information
passing from one generation to the next, the relations of living forms to other
living forms, to differing climatic regimes and to the topography of the surface
of the earth. In turn, living forms also affect the processes of the atmosphere
and oceans and the geomorphic systems of the surface of the earth. Chapter 5
examines the dynamics of plant and animal metabolisms and their relations to
the morphology and scale of living forms. The relationships between living
organisms and their environment are analysed in terms of the vectors of
information, energy and material flows in populations, habitats and ecological
systems. An examination is made of how intelligence, social and spatial
organisation, and material artefacts emerge from the collective extension of
metabolism, reinforced and developed by positive feedbacks acting to modify
the regime of natural selection. Collectives continually modify and regulate their
exterior environment and over time change their own ecological niche, and so
enhance their ‘fitness’ in that environment.
Chapter 6 traces the coevolution of the anatomically modern human form and
material culture, and the migration and flow of humans out of Africa to cover the
surface of the earth. An account is presented of the emergence of anatomical
and cultural forms of humans in relation to changes in climate and ecological
systems, and to the subsequent modifications of local and regional ecologies by
human occupation. The development of language, art and calendars, and their
integration into complex informational systems for the transmission of
ecologically contextualised knowledge over time is examined. The spatial
patterning of territories is analysed in terms of the vectors of energy and material
flows, and the emergence and proliferation of pit dwellings, settlements and
mobility strategies is unfolded. In Chapter 7 an account is presented of the
emergence of the dynamic forms of cities and systems of cities, together with an
outline of their relations to culture and ecology. The irregular development of the
forms of cities and systems of cities, their constant rebuilding over time, and their
expansion, decay and collapse is examined in relation to their informational
complexity, population, climate and ecology. Chapter 8 traces the evolutionary
development of complexity in the flow of information and energy through the
extended metabolisms of settlements, cities and systems of cities, and the global
system of the contemporary world. The consequences of the increasing
acceleration over time of human ‘metabolic’ activities on the intricate dynamics
of ecological systems are related to the evolution of complexity, and to the
episodic collapse and reorganisation of cultural and ecological systems.
39NATURE AND CIVILISATION
010-041-WE-Chap1 6/1/10 17:29 Page 39
20 THE ARCHITECTURE OF EMERGENCE
organisms survive the fierce competition and have greater breeding success. Their
offspring in turn have even greater reproductive success, and so on down the
generations. The ‘higher animals’ or most complex biological forms developed
from very simple beginnings, and natural selection was the means by which each
species became more perfectly fitted to its environment. ‘There is grandeur in this
view of life, with its several powers, having been originally breathed into a few
forms or into one; and that, whilst this planet has gone cycling on according to
the fixed law of gravity, from so simple a beginning endless forms most beautiful
and most wonderful have been, and are being, evolved.’9
Living organisms can be regarded as systems, and these systems acquire their
complex forms and patterns of behaviour through the interactions, in space
and over time, of their components. The dynamics of the development of
biological forms, the accounts of growth and form, of morphogenesis, have
become much more central to evolutionary theory than in Darwin’s thesis.
Darwin’s arguments had an alignment with the then current theory of
competitive struggle in capitalism10 and the concepts of mechanisms in
industry. Theories of morphogenesis, the creation of forms that evolve in space
and over time, are now inextricably entwined with the mathematics of
information theory, with physics and chemistry, and with organisation and
geometry. The alignment with concepts and technologies of economics and
industry remains consistent today.
The convergent lines of thought between biology and mathematics were
initiated early in the 20th century, particularly by the work of Alfred North
Whitehead and Wentworth D’Arcy Thompson. D’Arcy Thompson, zoologist
and mathematician, regarded the material forms of living things as a diagram
of the forces that have acted on them.11 Living things are made of physical
material and are subject to the same forces as non-living material, and so
physics and geometry are as significant as natural selection. His observations of
the homologies between skulls, pelvises and the body plans of different species
suggested a new mode of analysis, a mathematisation of biology.
Morphological measurements are specific to species, and at times to individuals
within a species, and so are various, but there are underlying relations that do
not vary – the ‘homologies’. Homology has two distinct but related meanings:
to biologists it means organs or body parts that have the same evolutionary
origin but quite different functions, and to mathematicians it is a classification
of geometric figures according to their properties. Form can be described by
010-041-WE-Chap1 6/1/10 17:29 Page 20
21NATURE AND CIVILISATION
mathematical data, by mapping points in three-dimensional coordinate space,
by dimensions, angles and curvature radii. D’Arcy Thompson’s comparison of
related forms within a genus proceeds by recognising in one form a
deformation of another. Forms are related if one can be deformed into another
by Cartesian transformation of coordinates. Comparative analysis reveals what
is missing in any singular description of a form, no matter how precise, and that
is the morphogenetic tendency between forms. In this argument genetic
information does not need to fully specify the geometry of a form, as the
natural forces of the environment and mathematical principles will determine
the specific geometry during growth and development.
1.5 MutationThe head of a mutant fruit flyDrosophila melanogaster. Thismutant has two small perfectlyformed eyes in place of antennae,seen here between the large redcompound eyes. The mutation isproduced by modifying theexpression of a single gene duringthe early development of the flyembryo.
010-041-WE-Chap1 6/1/10 17:29 Page 21
7
8
Conversations with Architects about a Troubled Relationship Yael Reisner with Fleur Watson
978-0-470-99784-0 Hardback 264pp £50.00 Apr 10
What makes the world’s top architects tick?
Through discussions with five leading architects, including
Frank Gehry, Zaha Hadid, Greg Lynn and Wolf Prix, unrivalled
access is provided to the formative experiences, creative
processes and motivations of some of the most influential
design figures today. Through personal interviews with Yael
Reisner, written up by Fleur Watson, the authors capture the
voices, thoughts and personalities of their subjects. So rare
and intimate are the insights that it is often akin to being a
party to the very conversations themselves. The articles bring
us up close to these creative minds with such widely differing
positions and opinions, each expressing a very different point
of view on aesthetics: whether they think beauty is integral
or non-essential to architecture. Fascinating in what it tells us
about individual architects and their work, most significantly
Architecture and Beauty raises poignant issues regarding
the place of beauty, aesthetics and self-expression within
the psychology and the design process of the architectural
avant-garde.
Architecture and Beauty:
Yael Reisner has a Diploma in Architecture from the
Architectural Association in London. Born in Tel Aviv, she now
lives in London where she has her own practice and teaches
internationally.
Fleur Watson is a design journalist, curator and former
Editor-in-Chief of the Australian architecture journal
MONUMENT.
Will Alsop
PURSUIT OF PLEASURE‘ARCHITECTURE IS ART!’, exclaims British architect Will Alsop. ‘It is the most public of
arts.’ Educated at the renowned Architectural Association (AA) in London during the
late 1960s and imbued with the school’s commitment to creative process, Alsop is
disparaging of the notion of ‘objectivism’ within architecture. As he suggests: ‘The only
thing we have is our individuality. That’s what we have to give to the world.’1
Alsop also believes a fundamental aspect of the architect’s role is to improve the
quality of people’s lives. He explains that the content of his work is embedded in a
process of speculation that aspires to create spaces of delight and beauty for the ‘man
on the street’. To this end, he actively engages the community in the design process
for his public projects, inviting them to share their thoughts and desires for the kind of
spaces they would like to inhabit.
At the age of 60, Alsop is a jovial, relaxed Englishman who loves his garden and a glass
of good wine, is comfortable in his own skin and open to discussing a wide range of
topics and ideas. Despite this generosity of spirit, he is also a man with strong
convictions who is prepared to fight arduous battles for the acceptance of his
architecture. He embodies a strong sense of justice and is not afraid to confront his
contemporaries if he feels they are politically conservative and in breech of their
positions of power – such is his passion for a diverse and inspiring architectural culture.
Will Alsop knew from a very young age that he wanted to become an architect. While
still at school, he began working for a local firm and balanced this practical experience
by attending art school to gain inspiration and creative skills, and even considered
painting as an alternative career. ‘I went to art school because I felt I needed
“deprogramming” from my early pragmatic architectural experience and so I could begin
to put myself somewhere else creatively,’ he explains. The experience proved an
extremely positive one and propelled him to apply to study at London’s prestigious
OPPOSITE HÔTEL DU DÉPARTEMENT DES BOUCHES- DU- RHÔNE, MARSEILLES, FRANCE, 1994
Alsop is disparaging of the notion of ‘objectivism’within architecture. He suggests: ‘The only thing wehave is our individuality. That’s what we have to giveto the world ... I think an architect has to have thecourage to go wherever their process seems to begoing rather than trying to pull it back to somethingfamiliar. So I always return to this notion that theunfamiliar is more interesting to me than the familiar. Ifeel happy not knowing quite where a project is going.’
W I L L A L S O P 163
Architectural Association: ‘I only wanted to go to the AA so I never applied for anywhere
else. I began studying there in 1968 and, at that time, it was almost completely
dominated by Archigram members. I’d seen the absurd magazines Archigram produced
which genuinely excited me and it was one of the reasons I wanted to go there – there
was a genuine sense that you could do anything.’
Through the 1960s and 1970s, initially under the direction of John Lloyd and then Alvin
Boyarsky, the AA encouraged students to pursue their individual talents and take time to
pursue a personalised expression through their studies. As Alsop recalls: ‘There was a
genuine feeling that as an architect you could change the way people lived, or more
importantly that you could change the way people thought about how they could live;
that was interesting to me and it still is today.’
After graduating, Alsop went to work for Cedric Price2 – an experience that he remembers
as concurrently bewildering and rewarding: ‘I found Cedric very confusing and it became
clear to me early on that he wasn’t interested in buildings at all. He was much more
engaged in projects that he had invented and so I spent a long time researching such
things as how to provide a truck park with security, facilities for the drivers to have a
decent night’s sleep, and where they could wash and have a good breakfast. But if you
were in the right mood you could make a very beautiful truck park!’ While Alsop
appreciated Price’s ethical approach, he felt he lacked a direct engagement with
designing buildings. Looking to his other great passion of art to fill the void, he began
teaching sculpture after- hours at St Martins College. Eventually, however, it became clear
to Alsop that his desire to build architecture meant he needed to move on: ‘There was a
lot going on in Price’s office at the time, but I became frustrated because although the
work was interesting I knew that, within myself, there was something deeply missing.’
After establishing his own practice in 1981, Alsop discovered that – like many emerging
architects from the UK – it was much easier to gain commissions to build his architecture
abroad, and over time he gained a reputation as an internationally significant architect
for his vibrant and expressive buildings constructed all over the world. Examples include
his first major international commission, Le Grand Bleu, the seat of the regional
government of Bouches- du- Rhône in Marseille (1994); the Cardiff Bay Visitor Centre in
Wales (1990); Peckham Library, London (1999); the Almere Urban Entertainment Centre,
Amsterdam (2004); Alsop Toronto Sales Centre, Toronto (2006); Zhang Jia Bang: Street of
Culture, Shanghai (2006) and the Trubnaya office building in Moscow (2007).
Although Alsop embraces technology, he departs from his ‘High- Tech’ contemporaries3
with his belief that technology ‘helps to get things done’ rather than generating the
ABOVE HÔTEL DU DÉPARTEMENT DES BOUCHES- DU- RHÔNE, MARSEILLES, FRANCE, 1994
Alsop is well known for the large- scale paintings thatinform his work, however he is adamant that they arenot an integral part of his process, claiming instead thatthey influence his work in a more oblique way.‘Painting is a release,’ he explains, ‘I’m actually makingmarks on a piece of paper or piece of canvas in orderto take myself somewhere new. I’m not trying toconfirm anything; I’m trying to open the situation up.’
RIGHT HÔTEL DU DÉPARTEMENT DES BOUCHES- DU- RHÔNE, MARSEILLES, FRANCE, 1994
Alsop studied at the Architectural Association (AA) inLondon through the 1960s and 1970s, initially underthe direction of John Lloyd and then Alvin Boyarsky. TheAA encouraged students to pursue their individualtalents and take time to craft their personalarchitectural expression through their studies. As Alsoprecalls: ‘There was a genuine feeling that as anarchitect you could change the way people lived, ormore importantly that you could change the waypeople thought about how they could live; that wasinteresting to me and it still is today.’
A R C H I T E C T U R E A N D B E A U T Y164 W I L L A L S O P 165
of bad work from the students, but I think that’s great because while they might be
failing, at least they’re trying something new.’
A legacy of being a graduate of the AA lies in the philosophy that architectural design
evolves through free thinking with no need for rules or rigid frameworks. Alsop is also
quick to reject the need to establish an overriding set of ‘rules’ within his architecture,
explaining that ‘the parameters of a project are very ill- defined at the beginning and they
become more established as you work through the process, as you involve more people
in the conversation and, eventually, it develops its own sort of sensibility’. He continues:
‘I think an architect has to have the courage to go with wherever it seems to be going –
rather than trying to put it back to something familiar. So I always return to this notion
that the unfamiliar6 is more interesting to me than the familiar. I feel happy not knowing
quite where a project is heading.’
Art also continues to provide an important framework for Alsop, and the architect is well
known for the large- scale paintings that inform his work. However, he is adamant that
they are not an integral part of his process, instead influencing his work in a more oblique
way. ‘Painting is a release,’ he says, ‘I’m actually making marks on a piece of paper or a
canvas in order to take myself somewhere new. I’m not trying to confirm anything; I’m
trying to open the situation up.’ He suggests that rather than a methodology, his painting
allows him to gain a new perspective and to include other creative influences in his
can see that there is something that could be described as “Alsopesque”. But if I said
“draw me an Alsop building”, you couldn’t really do it. You could draw a building I’ve
done, but you couldn’t draw my next building. I like that because I don’t know what my
next building will be and it continues to challenge me.’5
Alsop’s architecture is colourful with a great diversity of materials and a rich palette of
forms and colour, yet he resists any notion of an underlying conceptual ideology apart
from a desire to do things differently with each new project: ‘Why do architects or artists
want to write a manifesto? I think there’s only one answer to that question – they believe
they are right and they want everyone else to do it the same way. I don’t want to do
that and it is evident in the difference between the way that I teach and the way an
architect like David Chipperfield teaches; if you see the work of his students at Düsseldorf,
there are 30 David Chipperfield clones – it’s like chip shops! That’s not very interesting –
why would you do that as a teacher? At the Technical University in Vienna I receive a lot
BELOW FOURTH GRACE, LIVERPOOL, 2002
Alsop promotes a collaborative design strategy thatremoves the process from a personal vision and placesdesign decisions in the public realm, empowering thearchitect’s role as facilitator. He says: ‘If I want tobroaden the conversation then I actually make morenoise by talking to more people and then bring it backto the studio, look at it and think about what I can dowith that information. So it goes from the very publicto the very personal.’
ABOVE THAMES GATEWAY MASTERPLAN, LONDON, 2003
Referring to his painting for the Thames Gatewaymasterplan project, Alsop states: ‘It’s another form ofsketching, to see things in another way. By simplysaying, “OK, to try and work out what Thames Gatewaycould be, let’s give ourselves 10 days to think about 14square kilometres and each square kilometre should bedifferent”. It’s an absurd thing to set yourself as a task,yet wonderful!’
A R C H I T E C T U R E A N D B E A U T Y170 W I L L A L S O P 171
process, such as his ongoing collaboration with artist Bruce McLean:7 When I’m working
with Bruce on large 3-D paintings such as Malagarba Works,8 we’re not thinking about a
project at all, we’re just working on the painting and that process can feed elements of
the architecture. We might have done something for one reason, but then say to each
other: “See the way that shadow falls? Now that’s interesting”, and then translate that
into the architectural work.’
Alsop gestures to a series of large paintings hanging in his studio as an example of how
his artwork can inform a project – in this case his scheme for the Thames Gateway
masterplan project (2004). He explains: ‘It’s another form of sketching, to see things in
another way. By simply saying, “OK, to try and work out what Thames Gateway could be,
let’s give ourselves 10 days to think about 14 square kilometres and each square
kilometre should be different”. It’s an absurd thing to set yourself as a task, yet
wonderful! And out of it we discovered some things which allowed us to tell a different
story about that part of London.’
From large public projects such as the Thames Gateway or Bradford masterplans to
commissions for small objects such as his tea set for Alessi, Alsop finds little difficulty in
adjusting his process for dramatic changes of scale. ‘To me it’s all the same work. I didn’t
design the table in my studio, but I’d be very happy to design a place to sit because I
think you need the right things to support the act of talking. Conversely, a beautiful spoon
that’s very nice to use isn’t an aid to conversation. You might notice the spoon, but you
don’t have to say anything – it’s there nonetheless and it makes you feel comfortable or
excited or calm. And I think buildings are formed the same way, so it doesn’t matter what
the scale of the project is.’
Although Alsop easily embraces the notion of beauty within his work, he is less
comfortable with the proposition that the development of his ideas might evolve directly
from a consideration of aesthetics. He believes that the content and form of his projects
are embedded in a process of speculation rather than visual considerations: ‘Whatever
the project, I like to start off from somewhere else rather than it being generated by
what it looks like. For example, I’ve recently designed a set of cutlery for Alessi called
‘Vertical Cutlery’, but the idea started with my observation that people in London live in
increasingly smaller apartments. So if you have guests for supper then you don’t want all
this crap on the table; you want to make it simple so that you’ve got some space to sit
and have a drink and the cutlery can be easily added when it’s time to eat. So it was an
idea derived from my observations and not generated from an idea about what it should
look like.’
BELOW VERTICAL CUTLERY FOR ALESSI, 2004
Alsop believes that the content and form of his projectsare embedded in a process of speculation rather thanin visual considerations: ‘Whatever the project I like tostart off from somewhere else rather than it beinggenerated by what it looks like. For example, I’verecently designed a set of cutlery for Alessi ... but theidea started from my observation that people inLondon live in increasingly smaller apartments ... andwas not generated from an idea about what it shouldlook like.’
A R C H I T E C T U R E A N D B E A U T Y172 W I L L A L S O P 173
RIGHT BLIZARD BUILDING, SCHOOL OF MEDICINEAND DENTISTRY FOR QUEEN MARY, UNIVERSITY OFLONDON, WHITECHAPEL, LONDON, 2005
Despite his generosity of spirit, Alsop is also a manwith strong convictions who is prepared to fightarduous battles for the acceptance of his architecture.He pursues a strong sense of justice and is not afraid toconfront his contemporaries if he feels they arepolitically conservative and in breach of their positionsof power and the potential influence of the architect inpolitics – such is his passion for a diverse and inspiringarchitectural culture.
9
10
A Conceptual Framework for Architecture VOL I Patrik S. Schumacher
978-0-470-77298-0 Paperback 400pp £26.99 Oct 10
978-0-470-77299-7 Hardback £75.00
This is the first volume of a major theoretical work outlining
how the discipline of architecture should be understood as
its own distinct system of communication. This approach
allows architecture to be analysed in elaborate detail while
at the same time offering insightful comparisons with other
subject areas, such as art, science and political discourse.
On the basis of such comparisons the book insists on the
necessity of disciplinary autonomy and argues for a sharp
demarcation from both art and engineering. Schumacher
accordingly argues controversially that design intelligence
and architecture as a discipline has its own internal logic.
• Written by a key architectural practitioner, that is sure to
provoke controversy
• Written with the mission of impacting practise as well as
providing theory for contemplation
• A major theoretical work that challenges how we analyse
and perceive architecture
• It provides students and architects with a conceptual
framework for architecture
The Autopoiesis of Architecture:
• Set to become a key text for architectural students and
practitioners
• Volume I contains five of the 12 parts, with Volume II publishing in Feb 2011
Volume II Paperback £29.99 978-0-470-66616-6
Hardback £85.00 978-0-470-66615-9
About the author:
Patrik Schumacher is a leading international figure in
architectural practice and academia: he is a partner in Zaha
Hadid Architects and a co-director of the prestigious Design
Research Laboratory at the AA and Professor at the Institute
for Experimental Architecture at Innsbruck University.
11
High-Rise and the CityEric Firley
978-0-470-68474-0 Hardback 240pp £50.00 Feb 11
For well over a century, the skyscraper has provided an
ingenious solution to high-density urban living – housing
the greatest number of people in buildings with a minimal
footprint. What is the right high-rise solution for a particular
urban context? The Urban Towers Handbook provides
the answer to this question for architects, planners and
developers by organising iconic examples of towers into
distinct typological groups and providing an essential
reference book and design tool.
• Provides a comprehensive comparative analysis of high-rise
towers in their urban context
• Includes newly commissioned photography and drawings,
drawn to scale: urban plans, floor plans, sections and
elevations
• Presents 30 in-depth case studies of iconic towers, such
as the Eiffel Tower, Chrysler Building and Rockefeller Tower
• It illustrates some 40 further contemporary and future
towers
The Urban Towers Handbook:
About the author:
Eric Firley is the author of The Urban Housing Handbook.
An architect and urban designer, he is currently based in
Paris. Since studying in Lausanne, Weimar and London, he
has worked in several practices and design consultancies in
France and the UK.
12
The Patterns and Forms that Make the Metropolis Terry Farrell
978-0-470-69996-6 Hardback 288pp £39.99 Oct 09
Illustrated with maps, archive photographs and paintings,
as well as original sketches by Farrell, the book provides
a vibrant and intriguing collage of London’s patterns and
its history – a wholly new and dynamic view of London by
renowned architect Sir Terry Farrell.
“ When the subject is London, there is no one I admire more than Terry Farrell.”
Bill Bryson
“ The most important and inspirational London book of the decade. It offers a physical description of the city that is both a perceptive analysis of its past and a vision for its future”
Dan Cruickshank
“ Rare among today’s architects and planners, Terry Farrell really understands the texture of London. His eye misses nothing, from kerbstones, traffic islands, walls and trees to a realistic vision of the city as a whole.”
Simon Jenkins
Shaping London:
“ Terry Farrell has produced a first-class combination of historical insight, geographical observation and infrastructure analysis – the distilled thoughts of a true urbanist. Essential reading for anyone engaged in adding to London’s built environment, and a wonderfully illustrated story for more general readers.”
Paul Finch, Chair, Commission for Architecture and the Built Environment (CABE)
1335
2nd Edition Sean Stanwick, Loraine Dearstyne Fowlow
978-0-470-72141-4 Hardback 232pp £39.99 Apr 10
The pressure is on for wine producers to commission the
most interesting spaces to promote their wines and celebrate
the culture of wine and its production.
Frank Gehry, Herzog and de Meuron and Santiago Calatrava
amongst many others have all recently designed wineries that
focus on the tour as well as the production, making wineries
one of the most exciting areas of architecture today.
This new edition of Wine by Design adds a further nine
wineries to those in the original book, from Austria, Canada,
Italy, Portugal, Spain and the USA and are by such well-
known architects as Alvaro Siza and Renzo Piano.
Wine by Design
About the authors:
Loraine Fowlow is Interim Dean and an Associate Professor
in the Faculty of Environmental Design at the University of
Calgary.
Sean Stanwick is an associate at Farrow Partnership
Architects Inc and a partner at CreativeWorks Consulting in
Toronto, Canada.
6 7
ABOUT THEGUEST-EDITOR
Dr Marjan Colletti is co-founder of the studio marcosandmarjan in London, and currently a lecturer in architecture at the Bartlett School of Architecture, University College London (Unit Master, Unit 20), and the University of Westminster (Unit Master, DS10) with Marcos Cruz. He has been a guest professor at UCLA and Innsbruck University, Austria and design instructor at various institutions in Europe and Asia. His projects and texts attempt to bridge the gap between architectural theory and the built environment by expanding the vocabulary of digital architecture. On various platforms – research, education and practice – he endeavours to establish a debate in which experimentation, technology and innovation do not exclude personal emotions, local traditions and cultural identity. His work has been widely published and shown in more than 50 exhibitions in Europe, Brazil and Asia.
marcosandmarjan’s portfolio includes the competition-winning entry for a 180,000-square-metre (1.9 million-square-foot) entertainment complex in front of the gates of the Summer Palace in Beijing, the built pavilions and general layout for the 2005 Lisbon Book Fair, as well as the ongoing NURBSTERS series and the runner-up project for an estate Sales Centre and model homes display in Cairo.Marjan’s PhD on ‘Digital Poetics’ (Bartlett, UCL), the co-authored book marcosandmarjan: Interfaces/Intrafaces (SpringerWienNewYork, 2005) and the print collection 2&1/2D Twoandahalf Dimensionality (Bucher Hohenems, 2006) favour a poetic digital avant-garde developed through 2-D, 3-D software and computer numerically controlled (CNC), rapid protoyping (RP), and computer-aided design and computer-aided manufacturing (CAD/CAM) technologies. Parallel strands of research are developing novel morphologies (Convoluted Tectonics), new urban strategies (InterPolis), higher education syllaba in digital design, computation and technology (AC_DC Architectural Curriculum for Design Computing), as well as sustainable manufacturing strategies (InterTech). 1
Marjan Colletti, 2&1/2D Fluffy Blue One: ‘Let us overcome virtual aloofness and disembodiment’, 2006The infi nite digital space formed in computer-aided design can most precisely be described by splinear, 2&½D drawings that convey more intricate spatial attributes than simple 2-D line drawings, yet less than 3-D renderings. Such drawings remain geometrically infi nitely fl at, yet they appear spatial in the manifestation of surfaces, volumes and shadows.
Marjan Colletti, 3&1/2D Shiny One, 2009Unforeseen behaviours of circles-lofts are developed as part of an ‘anexact’ design process that employs otherwise exact and precise CAD commands. The results are abstract and symbolic; digital constructs – fi ctional metareproductions – of something between nature and technology, between the known and the unknown, the imaginary and the real. The digital architect is understood as being capable of acting and (meta)producing artistically since engagement with the model demands aesthetic consideration of its properties.
Marjan Colletti, Bartsters installation, Prague-Bratislava-Kosice, 2004–05marcosandmarjan’s NURBSTERs are a series of models and 1:1 prototypes, conceived for exhibitions and installations. The design and manufacturing processes are completely computerised. The Bartsters (Bartlett Nurbsters), designed as exhibition islands especially for the Bartlett/British Council exhibitions in Prague, Bratislava and Kosice in 2004 and 2005, challenge the dichotomy of style/structure. Building up a complex object, and fi tting programmatic, structural, ergonomic requisites expressed through curvilinear and arabesque geometries, the assemblage technique reinterprets the traditional Chinese wooden cut-joint fi tting ideal for quick assembly and disassembly.
Text © 2010 John Wiley & Sons Ltd. Images © Marjan Colletti
14
b Launched in 1930, Architectural Design is an influential and prestigious architectural publication. With an almost unrivalled reputation worldwide, it is consistently at the forefront of cultural thought and design.
AD is 80 this year! And to celebrate we’re offering a personal rate subscription at the discounted price of £92 for 6 issues – that’s a saving of £7.66 on the individual cover price, or £23 off a year’s personal subscription.
To take advantage of this offer contact Wiley’s Journals Customer Service on:
Email: [email protected]
Phone: +44 (0) 1865 778315
And quote promotion code AD80th
2010 has also brought a complete redesign and will shortly see the launch of our new website where you can have your say on the topics covered in the issues themselves. Keep your eye on www.architectural-design-magazine.com for launch information.
30
It is the high degree of variation that contributes to an environment that is able to develop the most qualitative difference in the morphological continuity of the project.
24 25
Ali Rahim emphasises the importance for design of overlaying a mastery of digital techniques with a nuanced and developed aesthetic sensibility. Here he illustrates his fascination with the formal with his exploration of ‘interiorities’, or internal logics of tectonic structures, in his design research at the University of Pennsylvania. The strive to create variation and atmosphere in buildings effectively places a stress on different part-to-whole relationships, organisations, material qualities and colours and their various rates of transformation.
Ali Rahim
Jisuk Lee (Rahim Research Studio, University of Pennsylvania), Migrating Formations: Mixed-Use Complex, Moscow, 2008
70
Xefi rotarch, Patagonia Museum Pavilion, Patagonia, Argentina, 2008–Operates with the terrritory of affective arousement.
EXUBERANCE,I DON’T KNOW;EXCESS,I LIKE
Hernan Diaz Alonso
71
Hernan Diaz Alonso redefi nes ‘excess’ and ‘exuberance’ on his own terms. Fully au fait and comfortable with the excessive, he describes how in relation to his own work he views excess as more of a tendency or a logic, which sums up his approach; whereas he perceives the exuberant as removed from the design process and more like an ‘adjective’, an ‘emerging quality’ observed by others.
50
LET’S ROCK OVER BAROCKSince the 17th century, Austria has been a stronghold of the Baroque. Here Wolf D Prix of Coop Himmelb(l)au recognises the deep pull of this cultural tradition in contemporary Austrian architecture, as it continues to endow its designers with an aptitude for spatial sequence and a tendency to prefer to design complex spaces over simplifi ed boxes.
Wolf D Prix
Julian Fors, Jan Gronkiewicz and Dominik Strzelec (Studio Prix, University of Applied Arts, Vienna), Chardach, New Levent Subcentre, Istanbul, 2008 Taking the ancient Grand Bazaar and Istanbul’s gecekondular (informal urban dwellings) as its reference, the main goal of this student project was to create a building that could function as a new subcentre for the city’s Central Business District, animated by a shopping mall designed according to the traditional way of trading and living in Istanbul and answering global networking tendencies. The complexity of the programme, its location in a highly dense area, and the very large total surface presented a number of challenges. Three different typical strategies were thus set up: one experimental concerning spatial geometry, one based on virtual social space networking, and one conventional urban strategy. The result is a new architectural typology.
51
15
16
Turkey At the Threshold Guest edited by Hülya Ertas, Defne Sunguroglu Hensel and Michael Hensel
978-0-470-74319-5 Paperback 144pp £22.99 Jan 10
All eyes are currently on Turkey with Istanbul’s status as
European Capital of Culture 2010. It makes it a pertinent
moment to take stock and to look at Turkey’s past, present
and future, bringing the nation’s cultural renaissance and
evolution to the fore internationally.
• Tackles aspects of globalisation and the potential threat
that a rapid rolling out of an overly homogenised built
environment poses to rich local building traditions that
are founded on specific climatic knowledge and cultural
diversity
• Provides an analytical approach that highlights specific
aspects of Turkey’s rich heritage and current design culture
• Contributors include Tevfik BalcIoglu, Gülsüm Baydar,
Edhem Eldem, Tolga islam, Zeynep Kezer, Ugur Tanyeli,
ilhan Tekeli and Banu Tomruk
Exuberance New Virtuosity in Contemporary Architecture Guest edited by Marjan Colletti
978-0-470-71714-1 Paperback 144pp £22.99 Mar 10
This title of AD heralds a new era of exuberance in digital
design. Having overcome the alienation and otherness of the
cyber, having mastered the virtual qualities and protocols of
the parametric, having achieved the intricacy and elegance
of the digital, and having fully embraced the potential
of 3d computer software and cad/cam manufacturing
technologies, it is now time for architects to show off!
• Debates a plethora of joyful and intelligent ways in which
experimental architecture manages to cope with the
contemporary turmoil in global politics, economics and
ecology
• Includes the work of seminal figures such as Peter Cook
and Wolf D Prix
• Features cutting-edge designers: Hernan Diaz Alonso,
Marjan Colletti, CJ Lim, Ali Rahim, Neil Spiller, Kjetil Thorsen
and Tom Wiscombe
46
Giovanni Battista Piranesi, Engraving of the ‘Basilica’ 6th-century Greek temple at Paestum, southern Italy, 1778An emotive and aestheticised approach to ancient remains.
Bernardo Vittone, Santa Chiara, Bra, Piedmont, Italy, 1741–2Punctures in the dome and adjacent domelets.
17
Territory Architecture Beyond Environment Guest edited by David Gissen
978-0-470-72165-0 Paperback 136pp £22.99 Apr 10
Advancing a new relationship between architecture and
nature, Territory emphasises the simultaneous production
of architectural objects and the environment surrounding
them. Ultimately, it advocates architecture as a strategy of
environmental tinkering versus one of accommodation or
balance with an external natural world.
• Territory moves beyond naturalistic concepts – biomimetic,
morphogenetic or green architecture – by demonstrating
architecture’s role in producing nature and our interpretations
of nature
• Territory uncovers the numerous permutations and
possibilities of emerging “geographical” thought in
contemporary architecture with cutting edge geographers
and historians discussing contemporary work
• Features a diverse group, including architects Nicholas de
Monchaux, Future Cities Lab, Omar Khan, SeARCH, and
WEATHERS, and artists, scientists, and explorers Patric
Blanc, Fritz Haeg, and Gilles Ebersolt
18
The New Structuralism: Design, Engineering and Architectural TechnologiesGuest edited by Rivka Oxman
978-0-470-74227-3 Paperback 136pp £22.99 Jul 10
Today the convergence of design, engineering and
architectural technologies are breeding a new material
practice in experimental architecture. In this pioneering
publication, this important shift is fully defined as a highly
dynamic synthesis of emerging principles of spatial, structural
and material ordering integrated through the application of
materialisation and fabrication technologies.
• Features exemplary work by research and experimental
design-oriented structural engineering practices: Hanif Kara
(AKT), Werner Sobek and Bollinger + Grohmann
• Contributors include: Holzer and Downing, Neri Oxman,
Helmut Pottmann, Nina Rappaport and David Chilton
• Focuses on new design and fabrication technologies in the
recent work of Gramazio and Kohler, Barkow and Leibinger,
EMBT and Fabian Scheurer (Designtoproduction)
Post-Traumatic UrbanismGuest edited by Charles Rice, Adrian Lahoud, Anthony Burke
978-0-470-74498-7 Paperback 136pp £22.99 Sep 10
Urban trauma describes a condition where conflict or
catastrophe has disrupted and damaged not only the
physical environment and infrastructure of a city, but also
the social and cultural networks. Cities experiencing trauma
dominate the daily news. Images of blasted buildings, or
events such as Cyclone Katrina or the earthquake in Haiti
exemplify the sense of ‘immediate impact’. But how is this
trauma to be understood in its aftermath, and in urban
terms? What is the response of the discipline to the post-
traumatic condition?
• Contributors include: Andrew Benjamin, Ole Bouman, Brian
Massumi and Eyal Weizman
• Featured cities: Beirut, Shenzhen, Beelin and Caracas
• Encompasses: urban conflict reconstruction, infrastructure
development, climate change, public relations, population
growth and film
83
EMERGENT, The Menagerie, 2006– Surface-to-pleat, surface-to-armature and vector-to-shell studies.
078-087-c11.indd 83 03/02/2010 17:2719
EcoRedux: Design Remedies for an Ailing Planet Guest edited by Lydia Kallipoliti
978-0-470-74662-2 Paperback 136pp £22.99 Nov 10
This issue of AD explores the remarkable resurgence of
ecological strategies in architectural imagination now that
we’re faced with the urgency to heal an ill-managed planet
that is headed towards evolutionary bankruptcy. EcoRedux
differs from a utopian vision in that it does not explicitly seek
to be right; it recognises pollution and waste as generative
potential for design.
• Injects creativity into ecological design
• The issue brings to the fore a whole new group of
designers that are producing inspired, ecological design
solutions
• It features a visual encyclopaedia as a resource of
ecological ideas and strategies; a database and a timeline
of ecological design will accompany this resource of past
and present work in the field
e P
rimer
s
20
b
Primers series Nigel Coates
978-0-470-05744-5 Paperback 160pp £24.99 Dec 10
978-0-470-05745-2 Hardback £60.00
To architects the enduring attraction of narrative is that it
offers a way of engaging with the way a city feels and works.
Rather than reducing architecture to mere style or an overt
emphasis on technology, it foregrounds the experiential
dimension of architecture. In practice it is just as easy to be
minimalist as maximalist in its execution.
• The first publication to look the subject of narrative
architecture in the eye – it deals with its background,
analysis, practice as well as its implications for the future
• In addition to Coates’ own work, the book features projects
by Will Alsop, Jean Nouvel, Atelier van Lieshout, Bernard
Tschumi, Diller & Scofidio , FAT, AOC, Enric Miralles,
Charles Jencks, NL architects, Daniel Libeskind, Jon Jerde
and Mark Fisher
• The book is organised into four chapters; Abject narrative,
NATO and the formulation of narrative, Narrative as
practice; Can narrative contribute to expanding architecture
in new ways?
Narrative Architecture
About the author:
Nigel Coates is an architect, designer and educator, and
Professor of Architectural Design at the Royal College of Art
21
Also available:
Drawing:The Motive Force of ArchitectureSir Peter Cook
May 08 978-0-470-03480-4 Hardback £70.00
978-0-470-03481-1 Paperback £24.99
Spatial Intelligence: New Futures for ArchitectureLeon van Schaik
Sep 08 978-0-470-72322-7 Hardback £70.00
978-0-470-72323-4 Paperback £24.99
The Thinking Hand:Existential and Embodied Wisdom in ArchitectureJuhani Pallasmaa
Mar 09 978-0-470-77928-6 Hardback £60.00
978-0-470-77929-3 Paperback £24.99
Sus
tain
able
Des
ign
22
A Real-life Guide to Sustainable Living Pooran Desai
978-0-470-71546-8 Paperback 216pp £24.99 Nov 09
978-0-470-71557-4 Hardback £60.00 Nov 09
Amidst the threat of climate change and ever growing public
interest in greener lifestyles, developers, local authorities and
the government are now urging the creation of sustainable
communities. Government legislation is starting to incentivise
developers in this direction, yet with so many aspects to
consider a project can easily go wrong.
One Planet Communities cuts through the confusion, giving
a clear and simple framework that will allow students,
developers, surveyors, engineers, policymakers, architects
and planners to structure their thinking towards developing
sustainable communities effectively.
This is without doubt the standard introductory text for
design professionals and the development and planning
industry.
One Planet Communities:
About the author:
Pooran Desai, OBE, is a co-founder of award-winning
environmental organisation BioRegional Development Group,
where he originated the term ‘One Planet Living’ and leads
the group’s One Planet Communities programme.
Living and working at the BedZED eco-village in south
London, he brings to bear on his work personal as well as
professional experience.
23
The Work of Ken Yeang Sara Hart with David Littlefield
978-0-470-72140-7 Hardback 272pp £45.00 Oct 10
Internationally recognised for leading ecological design
in architecture, Ken Yeang has built over 200 buildings
globally and published numerous books advocating an
environmentally responsive approach to design. His ideas
and architecture have been prolifically published worldwide
– this book however, marks the first definitive overview and
critical approach to the development of Yeang’s work.
• Features Yeang’s entire career – detailing 30 projects drawn
from over three decades of practice
• Includes an extensive introduction by author Sara Hart,
preface by Lord Foster, a further article by influential
architect and academic John Frazer and commentary by
Leon van Schaik, amongst essays by further contributors
Eco-Architecture:
About the author:
Sara Hart is a New York-based writer and contributing editor
at Architectural Record.
About the editor:
David Littlefield is an architectural writer and a senior
lecturer at the University of the West of England.
24
The Art of Eco-Engineering: Successful Collaborations in Sustainable Design Bry Sarte
978-0-470-45361-2 Hardback 384pp £55.00 Sep 10
As more factors, perspectives, and metrics are incorporated
into the planning and building process, the roles of engineers
and designers are increasingly being fused together. The
Art of Eco-Engineering explores this trend with an in-depth
look at sustainable engineering practices in an urban design
context.
• Includes coverage of watershed master-planning, green
building, optimising water reuse, reclaiming urban spaces,
green streets initiatives, and sustainable master-planning
• Supplements the core reference material with international
examples and case studies
• Provides guidance on the role creative thinking and
collaborative team-building play in developing the complex
solutions needed to affect a sustainable transformation of
the built environment
Environmental Issues for Architecture David L. Smith
978-0-470-49709-8 Hardback 464pp £55.00 Dec 10
With the advent of more complex technologies, engineers
and other specialists, the architect’s role assumes an
expansion to project and team management; Environmental
Issues in Architecture gives the bigger picture without
overwhelming on the details.
• Gives an understanding of the principles of environmental
controls without getting bogged down in engineering
issues, covering the critical issues that architects need to
influence and inform their designs
• Illustrated throughout with photographs and drawings, with
emphasis on the historical perspective of building systems
• Enables designers to effectively communicate and
coordinate with specialists in HVAC, electrical, lighting,
plumbing, and acoustics
• Includes Companion Web site with PowerPoint
presentations, exercises, and Instructor’s Manual
25
Sustainable Site Design:Criteria, Process, and Case Studies for Integrating Site and Region in Landscape Design Claudia Dinep, Kristin Schwab
978-0-470-18783-8 Hardback 288pp £50.00 Jan 10
From project inception through implementation, Sustainable
Site Design sets forth a comprehensive approach to
context-informed sustainable landscape design. This
approach emphasises the need to understand each site’s
unique potential for sustainability, especially in relation to the
ecological, social, economic, and cultural conditions of its
regional setting. The book aims to integrate the concerns
of regenerative landscape function with the quest for
memorable, meaningful form.
Sustainable Solutions for Water Resources: Policies, Planning, Design, and ImplementationJames L. Sipes
978-0-470-52962-1 Hardback 368pp £60.00 May 10
Sustainable Solutions for Water Resources provides a basic
overview of water resources, hydrology, the current problems
involving water resources, and the potential impact of
global warming and climate change. This book emphasises
solutions for addressing concerns about water resources,
presented via real-world projects that look at different ways
to integrate concepts for water resources with other design
and planning decisions.
With over twenty case studies of real-world projects of
varying scale and complexity, this book is comprehensive
reference to sustainable management of water resource.
26
Guide to Green Building Rating Systems: Understanding LEED, Green Globes, Energy Star, the National Green Building Standard, and MoreLinda Reeder
978-0-470-40194-1 Paperback 240pp £50.00 Apr 10
Guide to Green Building Rating Systems informs readers
about the rating system selection process. Comparing
essential issues such as cost, ease of use, and building
performance, this book offers solid guidance that will help
readers find the rating system that best fits their needs.
Sustainable Laboratory Architecture: Planning, Design, and Operation KlingStubbins
978-0-470-48564-4 Hardback 288pp £55.00 Aug 10
Intended for architects, lab planners, and engineers, this is a
comprehensive book on the sustainable design of research
laboratories. Written by a well-known firm, KlingStubbins,
which has designed many laboratory buildings, this book has
information on integrated design, site design, programming
and planning, building materials, and the interiors of labs.
Includes a number of case studies of the best contemporary
sustainably designed labs.
27
28
Sustainable Preservation: Greening Existing Buildings Jean Carroon
978-0-470-16911-7 Hardback 320pp £50.00 Nov 10
Written by a noted expert on the subject, Sustainable
Preservation is the first comprehensive book on sustainable
and green historic preservation for architects and
preservation professionals. This resource explores issues
from building location and site to building materials, lighting,
systems, and the building envelope.
Sustainable School Architecture: Design for Elementary and Secondary Schools Lisa Gelfand, Eric Corey Freed
978-0-470-44543-3 Hardback 352pp £55.00 Apr 10
With a practical overview of how sustainability can be
achieved in new and existing schools, and how to maintain
this momentum in the years ahead, this important book
provides architects with detailed guidance for designing
healthier learning environments to help usher in a more
promising future.
29
Dra
win
g, D
rafti
ng a
nd R
ende
ring
30
Fabio Schillaci
978-0-470-66410-0 Hardback 464pp £45.00 Apr 10
The rendering is the most potent means of communicating
an architectural design. It provides a complete image
of a building in its planned setting. Unlike a physical or
computer model, an elevation or plan, it speaks in a direct
and accessible visual language that will enable any viewer
to immediately picture the architect’s vision. The potency of
the rendering is clearly understood by architects and clients
alike. Major architectural practices now commission specialist
studios to produce finished renderings of their buildings in
order to effectively sell their designs to their clients, while
clients also invest in renderings to convince the wider public
of their vision for large-scale architectural projects. Whereas
traditionally the rendering was an architectural drawing
enlivened by watercolour washes, contemporary renderings
are produced in a wide range of media and formats with the
explicit purpose of visualising and exciting.
A stunning visual survey of architectural rendering today that:
• Provides in-depth profiles of 14 of the top international
rendering studios
• Features images of landmark buildings, such as Foster’s
British Museum, IM Pei’s Pyramid for the Louvre and OMA/
Rem Koolhaas’ Central Library for Seattle
Architectural Renderings
• Includes architectural designs by high-profile practices:
Asymptote, Jean Nouvel, UN Studio and Zaha Hadid
Architects
• Supplies key insights into the working methods of specialist
rendering studios and their application of manual and digital
technologies
• Features informative essays by Fabrizio Avella, Professor
of Drawing and Measuring and Digital Drafting at the
University of Palermo, and Augusto Romano Burelli,
Professor in the Department of Architecture at the
University of Venice
Project: United States Census Bureau Headquarters, Washington DC (USA), 2000 Client:Skidmore Owings & Merrill, New York (USA) Software / Technique:AutoCAD, 3ds Max, Hi-Res QFX People involved: 3 Time needed:2 weeks
Project: Pacific Design Centre, West Hollywood (USA), 2005 Client:Pelli Architects, New Haven (USA) Software / Technique:3ds Max, VRay, Photoshop People involved: 3 Time needed:3 weeks
Project: Los Angeles Federal Courthouse, Los Angeles (USA), 2007 Client:Perkins & Will, Chicago (USA) Software / Technique:3ds Max, VRay, Photoshop People involved: 2 Time needed:1.5 weeks
278 279Office > studio amd, painting + motion
Giuseppe Damiani Almeyda (1834 –1911), Progetto per il teatro Massimo di Palermo, prospetto principale, 1874Archivio Damiani, Palermo (Italy) Photo: Fabrizio Avella, post-processing: Fabrizio Avella, Giuseppe Dalli Cardillo
Giuseppe Damiani Almeyda (1834 –1911), Padiglione centrale del Gran Caffé, prospetto, 1890 From Istituzioni Architettoniche, Archivio Damiani, Palermo (Italy)
22 23Essay > Fabrizio Avella
Tullio Crali (1910 – 2000), Palazzo delle scienze, 1930 MART, Museo d’Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto (Italy)
Antonio Sant’Elia (1888 – 1916), La città nuova. Casamento con ascensori esterni, galleria, passaggio coperto, su tre piani stradali, 1914 Museo Civico di Palazzo Volpi, Como (Italy)
Mario Chiattone (1891– 1957), Construzioni per una metropoli moderna, 1914 Università di Pisa, Dipartimento di Storia dell’Arte, Gabinetto di disegni e stampe, Pisa (Italy)
Fabrizio Avella, Tensione, 2005
Page 37:Yakov G. Chernikhov (1889 –1951) Composition No. 86From Architectural Fantasies: 101 Compositions Gouache on paper, 24,2 cm × 30,3 cm, Collection Dmitry Y. Chernikhov (Russia)
36 37Essay > Fabrizio Avella
The real temple is the naos formed by large square pillars, enclosed by a large ambulatory, profoundly altering the traditional closed cell. So the light needs to penetrate from the roof of the unbuilt naos, just before the chryselephantine statue of Zeus. This light also illuminates the covered ambulatory, which remains somewhat in darkness, once enlightened by the double opening that surrounds the Atlases, which are more than 7 m tall. Despite the skill and the precautions taken to reinforce the stability of the temple, archaeologists are convinced that it was never finished because it fell on the heads of its builders.
94 95Essay > Augusto Romano Burelli The Olympieion of Akragas
31
Fabio Schillaci is a practicing architect in Palermo, Rome
and Berlin, whose work has been published in international
books about digital design techniques.
32
Digital Drawing for Landscape Architecture: Contemporary Techniques and Tools for Digital Representation in Site Design Bradley Cantrell, Wes Michaels
978-0-470-40397-6 Paperback 320pp £50.00 Mar 10
Building on the tried-and-true principles of analogue
representation, Digital Drawing for Landscape Architecture
explores specific techniques for creating landscape
representation digitally. It explains the similarities and
differences between analogue and digital rendering, and then
walks you through the steps of creating digitally rendered
plans, perspectives, and diagrams.
Basic Perspective Drawing: A Visual Approach, 5th Edition John Montague
978-0-470-28855-9 Paperback 320pp £42.50 Jan 10
Master the art of perspective drawing with this updated edition
Basic Perspective Drawing, Fifth Edition gives artists,
illustrators, designers, and architects an accessible visual
guide for developing a firm and thorough grasp of the
important principles and techniques for perspective drawing.
With the same attractive, easy-to-follow style that made
previous editions so popular, this Fifth Edition adds new
chapters on freehand sketching and rapid visualisation,
additional step-by-step examples, and new material
demonstrating three-point views and methods of setting
figures into perspective spaces.
33
Architectural Design, Drafting, and CAD Kirby Reycraft
978-0-470-05363-8 Hardback 704pp £70.00 Nov 10
Introduction to manual and computer-aided architectural design drafting
• Teaches architectural drafting within the context of design
and construction, giving the reader practical tools for
decision making
• Reflects the current industry standards for design
presentation, and adheres to latest building codes
• Appropriate for architectural drafters, CAD operators,
and students in architectural technology and architectural
engineering
Drawing Shortcuts: Developing Quick Drawing Skills Using Today’s Technology, 2nd Edition Jim Leggitt
978-0-470-43548-9 Hardback 264pp £39.99 Jan 10
Create top-quality drawings faster and more effectively
This book introduces you to the fundamentals of drawing –
such as drawing types, media options, composition, colour,
shading, hatching, and perspective – and then explains how
to incorporate the most current digital technologies into your
work.
Aca
dem
ic b
ooks
34
Architectural Graphics, 5th Edition Francis D. Ching
978-0-470-39911-8 Paperback 256pp £30.99 Dec 09
Architectural Graphics offers the essential drawing tools,
principles, and techniques designers use to communicate
architectural ideas. In this Fifth Edition, Francis D.K. Ching
expands upon the wealth of illustrations and instructions that
have made this book a classic, and guides readers through
the subtleties of translating architectural ideas into vivid visual
representations.
A Global History of Architecture, 2nd Edition Francis D. Ching, Mark M. Jarzombek, Vikramaditya Prakash
978-0-470-40257-3 Hardback 832pp £65.00 Dec 10
The first edition of A Global History of Architecture changed
the way architectural history is viewed and studied. This
Second Edition surpasses the first with a lavish new design,
illustrated throughout with drawings and photographs in full
colour, and even more maps and diagrams detailing global
interconnections. The signature drawings of Francis D.K.
Ching are more informative than ever, updated with scale,
annotation, and function added where needed.
35
Illustrated History of Landscape Design Chip Sullivan, Elizabeth Boults
978-0-470-28933-4 Paperback 272pp £33.99 Feb 10
For thousands of years, people have altered the meaning
of space by reshaping nature. As an art form, these
architectural landscape creations are stamped with societal
imprints unique to their environment and place in time.
Organised by century and geographic region, this highly
visual reference uses hundreds of masterful pen-and-
ink drawings to show how historical context and cultural
connections can illuminate today’s design possibilities.
Mechanical and Electrical Equipment for Buildings, 11th Edition Walter T. Grondzik, Alison G. Kwok, Benjamin Stein, John S. Reynolds
978-0-470-19565-9 Hardback 1792pp £100.00 Dec 09
The pre-eminent teaching and practice reference for building
environmental control systems, Mechanical and Electrical
Equipment for Buildings is the only comprehensive text
covering basic theory, preliminary building design guidelines,
and detailed design procedures. With over 2,200 drawings
and photographs, this updated edition provides information
on the latest technologies, emerging design trends, and
updated codes.
Pro
fess
iona
l Pra
ctic
e
36
Design through Dialogue: A Guide for Architects and Clients Karen A. Franck, Teresa von Sommaruga Howard
978-0-470-72190-2 Hardback 208pp £70.00
978-0-470-87071-6 Paperback £29.99 Dec 09
Too often, in popular culture and in architecture education,
architects are portrayed as lone artists who retreat to their
studios to evolve outstanding designs all on their own.
Design through Dialogue analyses the dynamic behind
successful architect and client communication. Material for
the book is drawn from interviews with practicing architects
and successful case studies from around the world.
“ The best buildings are truly co-created through a process in which architect and client exchange knowledge in an unfettered way. This engaging, wide-ranging book puts forward a powerful case for such dialogue. I welcome it as a timely antidote to some of the myths that prevail about making excellent buildings and places.”
Sunand Prasad, President, Royal Institute of British Architects, 2007-2009
“ Design through Dialogue documents the discussions between architects and their clients that rarely get into print yet make all the difference between a successful project – and a happy client – or not. I highly recommend it for students and practitioners alike.”
Thomas Fisher, Dean, College of Design, University of Minnesota
“ This book addresses a pivotal but previously neglected relationship between architect and client – in an exceptionally intelligent, accessible and (above all) useful manner.”
Jeremy Till, Dean, School of Architecture, University of Westminster
37
The Architect’s Guide to Preventing Water Infiltration Elmer E. Botsai, Charles Kaneshiro, Phil Cuccia, Hiram Pajo
978-0-470-40165-1 Hardback 240pp £57.50 Apr 10
A guide for architects and builders, this book covers the
principles and practical approaches to water infiltration
prevention for a variety of building types from residential to
commercial buildings.
Applied Building Physics: Boundary Conditions, Building Performance and Material PropertiesHugo S. L. C. Hens
978-3-433-02962-6 Paperback 288pp £55.00 Aug 10
In recent years, Building Physics and its potentiality to
quantify performances has been pushed to the frontline
of building innovation. As with all engineering sciences,
Building Physics is oriented towards application, and so this
book looks to the performance rationale and performance
requirements.
38
Architectural Acoustics: Principles and Practice, 2nd Edition William J. Cavanaugh, Gregory C. Tocci, Joseph A. Wilkes
978-0-470-19052-4 Hardback 352pp £85.00 Jan 10
The leading guide to acoustics for architects, engineers, and
interior designers
A widely recognised, comprehensive reference to acoustic
principles for all concerned with the built environment,
Architectural Acoustics, Second Edition provides design
professionals with up-to-date information on basic concepts,
acoustical materials, and technologies for controlling wanted
or unwanted sound within and around buildings.
Architectural Graphic Standards for Residential Construction, 2nd EditionAmerican Institute of Architects, Dennis J. Hall, Nina M. Giglio
978-0-470-39583-7 Hardback 720pp £135.00 May 10
In this revised edition, Architectural Graphic Standards for
Residential Construction provides an additional 400 pages
of new content, covering sustainable and green designs,
sample residential drawings, residential construction code
requirements, and contemporary issues in residential
construction. With new “smart” details that go beyond
dimensions and with references to the International
Residential Building Code, this book offers valuable BIM-
ready materials to save time for architects and designers.
39
FootbridgesKlaus Idelberger
978-3-433-02943-5 Paperback 200pp £60.00 Jul 10
Footbridges represents more than 100 international
footbridges realised during the last ten years. It contains brief
descriptions of the particular conditions, construction type
and structural system, as well as layout design, details and
photographs each.
Construction Specifications Writing: Principles and Procedures, 6th Edition Harold J. Rosen, John Regener
978-0-470-38036-9 Paperback 528pp £70.00 May 10
A comprehensive, practical guide to understanding the
purposes and processes for preparation of construction
specifications.
New to this edition:
• Updated to MasterFormat 2004, as well as SectionFormat/
PageFormat 2007 and Uniformat
• End of chapter questions and specification-writing
exercises
• Expanded coverage of specifications for sustainable design
• Updated information on the role of specifications in Building
Information Modeling (BIM)
40
Prefab Architecture: A Guide for Architects and Construction Professionals Ryan E. Smith
978-0-470-27561-0 Hardback 320pp £50.00 Dec 10
Prefab Architecture is primarily written for the architect and
construction professional, and outlines the many facets of
off-site construction.
Prefabrication can allow for greater efficiency and precision,
lessen environmental impact, and shorten construction
cycles. Smith offers designers and construction professionals
guidelines that rethink all stages of the design process in
order to effectively utilise the fabrication process.
Through real-world case studies, you’ll learn the essentials of
building a design practice, including:
• Deciding how and when to use business planning, strategic
planning, and financial planning to your benefit
• Techniques to build teams and motivate team members
• Ways to avoid costly mistakes
• Advice on branding and marketing your firm and yourself
• Methods to integrate new technology into your day-to-day
practice, marketing, and networking
Residential Building Codes Illustrated: A Guide to Understanding the 2009 International Residential Code Steven R. Winkel, David S. Collins, Steven P. Juroszek, Francis D. Ching
978-0-470-17359-6 Paperback 400pp £33.99 Jul 10
This book provides architects, engineers, and other related
building professionals with an understanding of how the
International Residential Code was developed, and how it
is likely to be interpreted when applied to the design and
construction of residential buildings.
41
Simplified Engineering for Architects and Builders, 11th Edition James Ambrose, Patrick Tripeny
978-0-470-43627-1 Hardback 688pp £65.00 Dec 10
Covering both the LRFD and ASD methods for structural
design, Simplified Engineering is the go-to book for those
working on the design of steel, wood, concrete and masonry
building structures.
Design Informed: Driving Innovation with Evidence-Based Design Gordon Chong, Robert M. Brandt, W. Mike Martin
978-0-470-39562-2 Hardback 320pp £55.00 Aug 10
Evidence-based design takes knowledge in areas such
as lighting, acoustics, and colour and applies it to human
behaviour and performance. This book is a collection of
key case studies of evidence-based design applied to
architectural design primarily for healthcare and office
buildings.
Gra
phic
Sta
ndar
ds F
ield
Gui
des
42
Graphic Standards Field Guide to Building Construction Dennis J. Hall
978-0-470-53648-3 Paperback 416pp £50.00 Dec 10
Graphic Standards Field Guide to Hardscape Leonard J. Hopper
978-0-470-42965-5 Paperback 320pp £50.00 Sep 10
Graphic Standards Field Guide to Home Inspections Stephen Gladstone
978-0-470-54291-0 Paperback 416pp £45.00 Sep 10
Graphic Standards Field Guide to Residential Construction Dennis J. Hall
978-0-470-63504-9 Paperback 416pp £50.00 Oct 10
Graphic Standards Field Guide to Softscape Leonard J. Hopper
978-0-470-42964-8 Paperback 320pp £50.00 Dec 10
Bui
ldin
g Ty
pe B
asic
s43
Building Type Basics for Housing,2nd Edition Joan Goody, Robert Chandler, John Clancy, David Dixon, Geoffrey Wooding
978-0-470-40464-5 Hardback 240pp £50.00 Mar 10
A one-stop reference for the information essential to the
design of housing.
Building Type Basics for Banks and Financial Institutions Homer Williams
978-0-470-27862-8 Hardback 256pp £55.00 Apr 10
A comprehensive guide to the planning and design of banks
and other financial institution projects.
Building Type Basics for Elementary and Secondary Schools, 2nd Edition Perkins Eastman Architects
978-0-470-22548-6 Hardback 352pp £50.00 May 10
A comprehensive quick reference guide to the architectural
design of elementary and secondary schools.
Inte
rior D
esig
n
44
Interior Design in Practice: Case Studies of Successful Business Models Terri Maurer, Katie Weeks
978-0-470-19053-1 Paperback 240pp £45.00 Feb 10
Whether you hope to own your own company, grow your
company, or rise high in the managerial ranks of a larger
practice, you must have a tight grasp of business basics in
order to succeed as an interior designer.
Interior Design Portfolios Maureen Mitton
978-0-470-40816-2 Paperback 208pp £36.99 Oct 10
This highly illustrated introduction guides the interior designer
through all the steps needed to develop a professional
portfolio by providing basic elements and principles of
graphic design. Popular software is introduced in terms of
how each program may be most useful for certain portfolio
elements, and it also uses extensive, real world examples of
portfolios, including illustrations of actual portfolios.
45
Interior Detailing: Concept to Construction David Kent Ballast
978-0-470-50497-0 Hardback 320pp £57.50 Oct 10
Interior Detailing provides interior designers and architects
with a unique collection of interior details and material
information; connecting the realms of design technical
detailing that are typically treated separately. The book,
which includes 150 easy to understand details, shows how
to logically think through the design and development of an
assembly so it conforms to the designer’s intent and meets
practical requirements of good construction.
Successful Restaurant Design, 3rd Edition Regina S. Baraban, Joseph F. Durocher
978-0-470-25075-4 Hardback 336pp £60.00 Feb 10
Successful Restaurant Design shows how to incorporate
your understanding of the restaurant’s front- and back-of-
house operations into a design that meets the needs of the
restaurant’s owners, staff, and clientele.
Gra
phic
Des
ign
46
Sustainable Graphic Design: Tools, Systems and Strategies for Innovative Print Design Wendy Jedlicka
978-0-470-24670-2 Paperback 528pp £33.99 Jan 10
Sustainability isn’t a fad or a movement; it’s a long-term
paradigm shift. Exploring eco-conscious materials and
production techniques, Sustainable Graphic Design shows
designers how to create more effective and more sustainable
designs.
• Opens your eyes to the bigger picture of design seen from
the viewpoints of the audience, the creative vendor, their
suppliers, and society as a whole
• Chapters are written by a wide range of sustainable
design pioneers and practitioners including graphic
designers, creative managers, marketing consultants,
environmentalists, researchers, and psychologists
• Includes case studies to illustrate and tie concepts together
Advertising by Design: Generating and Designing Creative Ideas Across Media, 2nd Edition Robin Landa
978-0-470-36268-6 Paperback 272pp £42.50 Sep 10
The most complete guide to the process behind creating
effective advertising, newly updated with coverage of the
latest advertising trends.
• Written with the designer in mind, this book covers
all facets of advertising design, from idea generation,
visualisation, composition, and copywriting to ethics and
the history of the profession
• Full colour throughout, showcasing up-to-date examples
that reinforce the concepts explained
• New coverage of topics such as guerrilla advertising,
interactive media, blogging, branding, storytelling, word-of-
mouth advertising, and ads for mobile devices
47
Digital Design for Print and Web: An Introduction to Theory, Principles, and Techniques John DiMarco
978-0-470-39836-4 Paperback 352pp £50.00 Mar 10
The all-inclusive guide – from theory to practice – for print
and Web design
By combining basic theory with hands-on technique, Digital
Design for Print and Web takes the unique approach of
uniting two subjects traditionally approached separately into
one complete volume. As a result, you will gain a clearer
understanding of the entire creative process, from project
management to working with graphics to designing for print
and, ultimately, the Web.
An ideal resource for design students or practitioners, Digital
Design for Print and Web will show you to how to create
more effectively and guide you on the path toward digital
design mastery.
Brand Atlas: Branding Intelligence Made Visible Alina Wheeler
978-0-470-43342-3 Hardback 144pp £19.99 Sep 10
The innovative guide to the world of branding for the
YouTube, PowerPoint, and iPod culture
• Speaks to a broad range of stakeholders in the branding
process—from CEOs to designers to brand managers
• Provides tools to integrate brand throughout the entire
customer experience, build relationships based on brand,
measure a brand’s value, and define a brand strategy
• Contains essential information illustrated through the use of
diagrams
48
Type Rules: The Designer’s Guide to Professional Typography, 3rd Edition Ilene Strizver
978-0-470-54251-4 Paperback 232pp £36.99 Jul 10
The newly updated Third Edition of this introductory
typography textbook explains basic type techniques and
relates them to applied design.
• Teaches basic typography concepts and instructs readers
on how to apply them to create effective design
• Includes new information on OpenType, font management
utilities, font web sites, and interactive typography
• Provides an expanded history of type and an updated
glossary of key terms
• Covers updated software programs such as InDesign CS4
and Quark 8
• Features exercises throughout to help reinforce the
concepts presented in the book
A Typographic Workbook: A Primer to History, Techniques, and Artistry, 3rd Edition Kate Clair, Cynthia Busic-Snyder
978-0-470-13761-1 Paperback 432pp £30.99 Sep 10
Fully revised to include new information on practical
typography topics, and improved graphics and colour
illustrations.
• New organisation focuses each chapter around key
learning objectives
• Includes new information on the proper use of grid, page
setup using desktop publishing software, copy fitting,
typesetting and editing, and font foundries and resources
• Updated study questions and review exercises build each
chapter around specific learning objectives
• Accompanying instructor resources include downloadable
worksheets, sample exercises, and classroom discussion
topics
Available from all good booksellers or wiley.com
For sales and marketing queries contact Katie Moffat [email protected]
For publicity enquiries contact Caroline Baines [email protected]
For rights and licensing enquiries please contact Julie Attrill [email protected]