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How do architects use color? Do they adopt a different strategy or starting point for every project? Do they gradually cultivate individual color palettes, which develop alongside their body of built work? Do they utilize, or are they aware of, the body of theoretical work that underpins the use of color in the past, and forms the basis of most of the color systems commercially available today? Informed by the author's thirty years in architectural practice and academia, this book investigates, documents and analyzes the work of a number of contemporary architects in order to respond to these questions and provide a clear reference of contemporary color use. The book suggests a holistic approach to the integration of color in architecture; through a series of thematic essays, the text explores and reveals underlying principles in color design and application. Case studies include: • AHMM • Caruso St John • Erich Wiesner and Otto Steidle • Gigon/Guyer • O’Donnell + Tuomey • Sauerbruch Hutton • Steven Holl • UN Studio. The book provides clear insights into how particular contemporary architects use color confidently and intelligently as an integral part of their design philosophy, in conjunction with their choices of materials and finishes. Offering a stimulating view of the history of color theory, and pragmatic advice to practicing architects, this book will be inspiring to both design professionals and students.

Examines architectural developments of the nineteenth, twentieth, and early twenty-first centuries, tracing the best-known groups and movements that played a significant role in the rise and evolution of modern trends in the discipline.

One hundred years ago, architects found in the medium of photography-so good at representing a building's lines and planes-a necessary way to promote their practices. It soon became apparent, however, that photography did more than reproduce what it depicted. It altered both subject and reception, as architecture in the twentieth century was enlisted as a form of mass communication. Claire Zimmerman reveals how photography profoundly influenced architectural design in the past century, playing an instrumental role in the evolution of modern architecture. Her \"picture anthropology\" demonstrates how buildings changed irrevocably and substantially through their interaction with photography, beginning with the emergence of mass-printed photographically illustrated texts in Germany before World War II and concluding with the postwar age of commercial advertising. In taking up \"photographic architecture,\" Zimmerman considers two interconnected topics: first, architectural photography and its circulation; and second, the impact of photography on architectural design. She describes how architectural photographic protocols developed in Germany in the early twentieth century, expanded significantly in the wartime and postwar diaspora, and accelerated dramatically with the advent of postmodernism. In modern architecture, she argues, how buildings looked and how photographs made them look overlapped in consequential ways. In architecture and photography, the modernist concepts that were visible to the largest number over the widest terrain with the greatest clarity carried the day. This richly illustrated work shows, for the first time, how new ideas and new buildings arose from the interplay of photography and architecture-transforming how we see the world and how we act on it.

1960, following as it did the last CIAM meeting, signalled a turning point for the Modern Movement. From then on, architecture was influenced by seminal texts by Aldo Rossi and Robert Venturi, and gave rise to the first revisionary movement following Modernism. Bringing together leading experts in the field, this book provides a comprehensive, critical overview of the developments in architecture from 1960 to 2010. It consists of two parts: the first section providing a presentation of major movements in architecture after 1960, and the second, a geographic survey that covers a wide range of territories around the world. This book not only reflects the different perspectives of its various authors, but also charts a middle course between the 'aesthetic' histories that examine architecture solely in terms of its formal aspects, and the more 'ideological' histories that subject it to a critique that often skirts the discussion of its formal aspects. Dr Elie G. Haddad is the Dean of the School of Architecture and Design at the Lebanese American University, Lebanon and Dr David Rifkind is a Lecturer in Architecture at the Florida International University, USA. Contents: Introduction: modernism and beyond: the plurality of contemporary architectures, Elie G. Haddad and David Rifkind. Part I Major Developments After Modernism: Modern (or contemporary) architecture circa 1959, Peter L. Laurence; Post-modernism: critique and reaction, David Rifkind; High-tech: modernism redux, Sarah Deyong; Deconstruction: the project of radical self-criticism, Elie G. Haddad; Greening architecture: the impact of sustainability, Phillip Tabb; Postcolonial theories in architecture, Esra Akcan. Part II Architectural Developments Around the World: Architecture in North America since 1960, Brendan Moran; Architectural developments in Latin America: 1960-2010, Zeuler R.M. de A. Lima; The place of commonplace: the ordinary as alternative architectural lens in Western Europe, Tom Avermaete; Dutch modern architecture: from an architecture of consensus to the culture of congestion, Frances Hsu; Metaphorical peripheries: architecture in Spain and Portugal, Xavier Costa; Architecture in Switzerland: a natural history, Laurent Stalder; Architecture in Eastern Europe and the former Soviet Union since 1960, Kimberley Elman Zarecor; Finland: architecture and cultural identity, Taisto H. Mäkelä; Architecture in Africa: situated modern and the production of locality, Iain Low; Global conflict and global glitter: architecture of West Asia (1960-2010), Esra Akcan; Old sites, new frontiers: modern and contemporary architecture in Iran, Pamela Karimi; Beyond tropical regionalism: the architecture of Southeast Asia, Kelly Shannon; Internationalism and architecture in India after Nehru, Amit Srivastava and Peter Scriver; Architecture in China in the reform era: 1978-2010, Tao Zhu; Architecture in post-World War II Japan, Ken Tadashi Oshima; Edge of centre: architecture in Australia and New Zealand after 1965, Philip Goad. Index. With modern architecture's collapse as a unified body of thought and practice by the 1960s, the global field of architectural production has been marked by extraordinary diversity and innovation. This substantial volume ranges over wide territory, providing insightful critical and geographic perspectives on the last half century of architecture and locating the most significant points of reference for a revised historical understanding. The more than twenty contributors belong to a new generation of scholars. Carefully edited by Elie Haddad and David Rifkind and generously illustrated, this is an invaluable guide to architecture's recent past as well as to its present.　 Joan Ockman, Author of Architecture Culture 1943-1968: A Documentary Anthology.

Building Change investigates the shifting relationships between power, space and architecture in a world where a number of subjected people are reasserting their political and cultural agency. To explore these changes, the book describes and analyzes four recent building projects embedded in complex and diverse historical, political, cultural and spatial circumstances. The projects yield a range of insights for revitalizing the role of architecture as an engaged cultural and spatial practice.

In this book, Colin Davies subjects the canonical architecture of the twentieth century to a thorough reassessment. Rather than repeating the standard wisdom, Davies questions the values and judgements that are so often the mainstay of architectural surveys, and in doing so asks: what is the importance of the style we know as Modernism.

The advent of the airplane and skyscraper in 1920s and '30s America offered the population an entirely new way to look at the world: from above. The captivating image of an airplane flying over the rising metropolis led many Americans to believe a new civilization had dawned. InImpossible Heights, Adnan Morshed examines the aesthetics that emerged from this valorization of heights and their impact on the built environment. The lofty vantage point from the sky ushered in a modernist impulse to cleanse crowded twentieth-century cities in anticipation of an ideal world of tomorrow. Inspired by great new heights, American architects became central to this endeavor and were regarded as heroic aviators. Combining close readings of a broad range of archival sources, Morshed offers new interpretations of works such as Hugh Ferriss's Metropolis drawings, Buckminster Fuller's Dymaxion houses, and Norman Bel Geddes's Futurama exhibit at the 1939 New York World's Fair. Transformed by the populist imagination into \"master builders,\" these designers helped produce a new form of visuality: the aesthetics of ascension. By demonstrating how aerial movement and height intersect with popular \"superman\" discourses of the time, Morshed reveals the relationship between architecture, art, science, and interwar pop culture. Featuring a marvelous array of never before published illustrations, this richly textured study of utopian imaginings illustrates America's propulsion into a new cultural consciousness.