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Buildings provide tremendous insights into the character of imperialism, not least in the manner in which Western forms were spread across the globe. They reveal the projection of power and authority in colonised landscapes, as well the economic ambitions and social and cultural needs of colonial peoples in all types of colonies. They also represent a colonial order of social classes and racial divisions, together with the ways in which these were inflected through domestic living space, places of work and various aspects of cultural relations. They illuminate the desires of Europeans to indulge in cultural and religious proselytisation, encouraging indigenous peoples to adopt western norms. But the resistance of the supposedly subordinate people led to the invasion, adoption and adaptation of such buildings for a post-colonial world. The book will be vital reading for all students and scholars interested in the widest aspects of material culture.Buildings provide tremendous insights into the character of imperialism, not least in the manner in which Western forms were spread across the globe. They reveal the projection of power and authority in colonised landscapes, as well the economic ambitions and social and cultural needs of colonial peoples in all types of colonies. They also represent a colonial order of social classes and racial divisions, together with the ways in which these were inflected through domestic living space, places of work and various aspects of cultural relations. They illuminate the desires of Europeans to indulge in cultural and religious proselytisation, encouraging indigenous peoples to adopt western norms. But the resistance of the supposedly subordinate people led to the invasion, adoption and adaptation of such buildings for a post-colonial world. The book will be vital reading for all students and scholars interested in the widest aspects of material culture.

Driven by an almost fanatical desire for whatever is new, \"modern,\" and likely to make money, Houston is constantly in the process of remaking itself. Few structures remain from the nineteenth century, and even much of the twentieth-century built environment has fallen before the wrecking ball of \"progress.\" Indeed, the demolition of older buildings in Houston can be compared to the destruction of cityscapes such as Berlin, Warsaw, and Tokyo in World War II. But because this wholesale restructuring of Houston's built environment has happened in peacetime, historically minded people have only recently sounded an alarm over what is being lost and the toll this destruction is taking on Houstonians' sense of place. Houston Lost and Unbuilt presents an extensive catalogue of twentieth-century public and commercial buildings that have been lost forever, as well as an intriguing selection of buildings that never made it off the drawing board. The lost buildings (or lost interiors of buildings) span a wide range, from civic gathering places such as the Houston Municipal Auditorium and the Astrodome to commercial enterprises such as the Foley Brothers, Sears Roebuck, and Sakowitz department stores to \"Theatre Row\" downtown to neighborhoods such as Fourth Ward/Freedmen's Town. Steven Strom's introductions and photo captions describe each significant building's contribution to the civic life of Houston. The \"unbuilt\" section of the book includes numerous previously unpublished architectural renderings of proposed projects such as a multi-building city center, monorail, and people mover system, all which reflect Houston's fascination with the future and optimism that technology will solve all of the city's problems.

Die Himalaya-Region und das angrenzende tibetanische Plateau zeichnen sich durch eine sehr eigenständige, traditionelle Wohnkultur aus, die heute im Verschwinden begriffen ist. Das Buch dokumentiert detailliert 19 Wohnhäuser aus verschiedenen Ländern der Himalaya-Region, wie etwa unterschiedliche Provinzen Chinas, Tibet, Indien und Bhutan. Die Häuser zeugen von einer großen Diversität, geprägt durch die jeweilige Lage, das entsprechende Klima und die Tradition. Gleichzeitig weisen eine Reihe von Charakteristika auf die spezifische Region hin. In einem zweiten Teil werden die verschiedenen konstruktiven Elemente, wie etwa die Mauer, das Dach und die Fassade vergleichend dokumentiert. Durch die neu angelegten, maßstäblichen Zeichnungen bildet das Buch eine hervorragende vergleichende Analyse. The region of the Himalayas and the adjoining Tibetan plateau is known for its unique and characteristic vernacular architecture and housing culture which is slowly but surely disappearing. The first part of the book analyses 19 traditional houses in the region that respond in diverse ways to the specifics of their location and local climate. The second part presents a comparative study of the construction elements – walls, roof and façades – using photographs and hand-drawn construction details. The newly produced scale drawings provide an excellent basis for comparative review. Detailed plans, atmospheric photographs and informative texts take the reader on a journey through a fascinating building culture.

The Architecture of William Nichols: Building the Antebellum South in North Carolina, Alabama, and Mississippiis the first comprehensive biography and monograph of a significant yet overlooked architect in the American South. William Nichols designed three major university campuses--the University of North Carolina, the University of Alabama, and the University of Mississippi. He also designed the first state capitols of North Carolina, Alabama, and Mississippi. Nichols's architecture profoundly influenced the built landscape of the South but due to fire, neglect, and demolition, much of his work was lost and history has nearly forgotten his tremendous legacy. In his research onsite and through archives in North Carolina, Alabama, Louisiana, and Mississippi, Paul Hardin Kapp has produced a narrative of the life and times of William Nichols that weaves together the elegant work of this architect with the aspirations and challenges of the Antebellum South. It is richly illustrated with over two hundred archival photographs and drawings from the Historic American Building Survey.

In this interdisciplinary narrative, the never-ending \"completion\" of China's most important street offers a broad view of the relationship between art and ideology in modern China. Chang'an Avenue, named after China's ancient capital (whose name means \"Eternal Peace\"), is supremely symbolic. Running east-west through the centuries-old heart of Beijing, it intersects the powerful north-south axis that links the traditional centers of political and spiritual legitimacy (the imperial Forbidden City and the Temple of Heaven). Among its best-known features are Tiananmen Square and the Great Hall of the People, as well as numerous other monuments and prominent political, cultural, financial, and travel-related institutions. Drawing on Chang'an Avenue's historic ties and modern transformations, this study explores the deep structure of the Chinese modernization project, providing both a big picture of Beijing's urban texture alteration and details in the design process of individual buildings. Political winds shift, architectural styles change, and technological innovations influence waves of demolition and reconstruction in this analysis of Chang'an Avenue's metamorphosis. During collective design processes, architects, urban planners, and politicians argue about form, function, and theory, and about Chinese vs. Western and traditional vs. modern style. Every decision is fraught with political significance, from the 1950s debate over whether Tiananmen Square should be open or partially closed; to the 1970s discussion of the proper location, scale, and design of the Mao Memorial/Mausoleum; to the more recent controversy over whether the egg-shaped National Theater, designed by the French architect Paul Andreu, is an affront to Chinese national pride. For more information: http://arthistorypi.org/books/chang-an

The specificity of the formation of facade and spatial solutions of large spectacular buildings in Kazan is considered in the context of national and regional traditions. Ornamental and decorative systems, adapted to the architectural and artistic styles that existed in this period were identified. The main approaches to the design of large spectacular buildings in the context of national and regional traditions in the architectural practice of Kazan in the middle and the end of the XX century were identified as follows: - based on the use of the dominant styles in the considered periods (classics with the ideological concept of socialism, modernism, postmodernism), adapted to the architectural traditions of the decorative system of the Middle Volga region; - based on the use of modern finishing materials – ceramics, majolica, natural stone, which has references to the traditions of facing the facades of Bulgar buildings with limestone and glazed tiles. The architects of the middle and the end of the XX century laid the foundations of modern regional-national architecture and the methodology for the formation of a decorative-artistic system that combines the stylistic techniques of classicism, modernism, postmodernism with techniques which had references to the Bulgar-Tatar traditions.

The phrase \"Pennsylvania German architecture\" likely conjures images of either the \"continental\" three-room house with its huge hearth and five-plate stoves, or the huge Pennsylvania bank barn with its projecting overshoot. These and other trademarks of Pennsylvania German architecture have prompted great interest among a wide audience, from tourists and genealogists to architectural historians, antiquarians, and folklorists. Since the nineteenth century, scholars have engaged in field measurement and drawing, photographic documentation, and careful observation, resulting in a scholarly conversation about Pennsylvania German building traditions. What cultural patterns were being expressed in these buildings? How did shifting social, technological, and economic forces shape architectural changes? Since those early forays, our understanding has moved well beyond the three-room house and the forebay barn. InArchitecture and Landscape of the Pennsylvania Germans, 1720-1920, eight essays by leading scholars and preservation professionals not only describe important architectural sites but also offer original interpretive insights that will help advance understanding of Pennsylvania German culture and history. Pennsylvania Germans' lives are traced through their houses, barns, outbuildings, commercial buildings, churches, and landscapes. The essays bring to bear years of field observation as well as engagement with current scholarly perspectives on issues such as the nature of \"ethnicity,\" the social construction of landscape, and recent historiography about the Pennsylvania Germans. Dozens of original measured drawings, appearing here for the first time in print, document important works of Pennsylvania German architecture, including the iconic Bertolet barns in Berks County, the Martin Brandt farm complex in Cumberland County, a nineteenth-century Pennsylvania German housemill, and urban houses in Lancaster.

Buildings provide tremendous insights into the character of imperialism, not least in the manner in which Western forms were spread across the globe. They reveal the projection of power and authority in colonised landscapes, as well the economic ambitions and social and cultural needs of colonial peoples in all types of colonies. They also represent a colonial order of social classes and racial divisions, together with the ways in which these were inflected through domestic living space, places of work and various aspects of cultural relations. They illuminate the desires of Europeans to indulge in cultural and religious proselytisation, encouraging indigenous peoples to adopt western norms. But the resistance of the supposedly subordinate people led to the invasion, adoption and adaptation of such buildings for a post-colonial world. The book will be vital reading for all students and scholars interested in the widest aspects of material culture.

The Valparaíso School, as it became known, acquired an international reputation for its radical stance and its commitment to dialogue between architects and other disciplines. Since 1970 the Valparaíso School has focused much of its research and design activity on the Open City (Ciudad Abierta) project, created by a group of architects, artists, poets, and engineers with a vision of a city with \"no master plan, no imposed ordering devices, and no hierarchical networks of infrastructure.\" Originally set up as a laboratory-type environment, this alternative community has since become the place of residence and work for many people. Valparaíso School: Open City Group provides insight into this radical experiment in urban development through a series of essays and photographs.

Built by Spanish Franciscan missionaries in the seventeenth century, the magnificent mission church at Acoma Pueblo in west-central New Mexico is the oldest and largest intact adobe structure in North America. But in the 1920s, in danger of becoming a ruin, the building was restored in a cooperative effort among Acoma Pueblo, which owned the structure, and other interested parties. Kate Wingert-Playdon's narrative of the restoration and the process behind it is the only detailed account of this milestone example of historic preservation, in which New Mexico's most famous architect, John Gaw Meem, played a major role.