This book examines the work of three seminal Nordic architects - Alvar Aalto, Jørn Utzon and Sverre Fehn - from a phenomenological perspective, utilising the methodology of 'paradigm' (or 'in the manner of''). Roger Tyrrell explains how the approach of each architect is defined by the three sub-frames of the paradigm: that of the ‘origin’ (arche), that of ‘revealing’ (techne), and that of ‘the poetic conjunction’, in order to gain a holistic understanding of the experiential or phenomenological predisposition of the three architects. Using this method the author describes the commonalties and distinctive qualities of the architecture and design methods of Aalto, Utzon and Fehn. The final chapter projects the intellectual heritage of the three protagonists into the contemporary world, examining the work of practices from the UK, Norway and the USA that each extend this particular way of making place.

Through the 1940s and 1950s, PAGON (Progressive Architects Group Oslo Norway) was an alliance of young CIAM-affiliated Norwegian architects known for their innovative joint projects. As a group, PAGON went on to become largely overlooked in the history of modern architecture, even though its individual members – which included Sverre Fehn, Jørn Utzon, Arne Korsmo, and Christian Norberg-Schulz – became defining figures in Scandinavian and international modernism. This book tells the story of PAGON for the first time, offering an impressive account of the group's projects, buildings, and approach, and demonstrating why PAGON's projects are ripe for reappraisal in the international history of modern architecture. It shows how PAGON's architecture constitutes a unique continuity between the Scandinavian functionalism of the late 1930s and the modern movement in the US, and an important transitional stage before the emergence of the better-known neo-avant-garde groups within CIAM and Team 10. Published as part of the Bloomsbury Studies in Modern Architecture series, which brings to light the work of significant yet overlooked modernist architects, this book fills a gap in our understanding of mid-century modern architecture and highlights the internationally diverse nature of the modern movement.

Each of these Analysing Architecture Notebooks is devoted to a particular theme in understanding the rich and varied workings of architecture. They can be thought of as addenda to the foundation volume Analysing Architecture, which first appeared in 1997 and has subsequently been enlarged in three further editions. Examining these extra themes as a series of Notebooks, rather than as additional chapters in future editions, allows greater space for more detailed exploration of a wider variety of examples, whilst avoiding the risk of the original book becoming unwieldy. Shadows may be insubstantial but they are, nevertheless, an important element in architecture. In prehistoric times we sought shade as a refuge from the hot sun and chilling rain. Through history architects have used shadows to draw, to mould form, to paint pictures, to orchestrate atmosphere, to indicate the passing of time ... as well as to identify place. Sometimes shadow can be the substance of architecture.

Places are locations of value where psychological and cultural needs are satisfied. Human relationships with particular environments play a key role in motivating, developing, and nurturing the life of societies. Undifferentiated space becomes ‘place’ as we understand it better and its built and natural forms become endowed with value. However, misunderstanding the critical importance of heritage locations, particularly based on rejection of local and regional distinctiveness, has often led to their destruction. Featuring essays from across central Europe and beyond, and aimed at practitioners, decision makers and concerned citizens alike, this book raises awareness about the responsibility that we bear for every action taken that modifies the formal and socio-cultural context. Potentially, these actions can negatively impact the cultural landscape. Learning to recognize the essential value of heritage to the ‘place-ness’ of our cities and landscapes is vital in helping us to preserve and enjoy their intrinsic beauty and cultural importance.

This book introduces and defines the burgeoning concepts of transculturalism and essentialism and how they relate to one another, as articulated with reference to the work of Jørn Utzon. It introduces critical contemporary perspectives of the design thinking and career of this renowned Danish architect, internationally recognised for his competition-winning, iconic design for the Sydney Opera House – an outstanding exemplar of transcultural essentialism in architecture. Transcultural essentialism is analysed through the lens of critical regionalism and architectural phenomenology, with emphasis on the sense of place and tectonics in Utzon’s architectural works. It provides a new understanding of the Danish architect as an early proponent of a still emergent and increasingly relevant direction in architecture. Going beyond biographical studies, it presents a more comprehensive understanding of the broad range of transcultural influences that formed his thinking. The volume includes numerous previously unpublished photographs, drawings, and interviews with Utzon’s family members, former students, and colleagues, offering a significant contribution to the existing body of knowledge for any architecture scholar interested in Utzon’s work and design principles. The book also comprises a Foreword by eminent architecture theorist Juhani Pallasmaa in which he provides insights into the wider architectural and cultural context of Utzon’s worldview.

Aalto built three major works in America that counted among the most important in his career - the Finland Pavilion at the New York World's Fair, Baker House at MIT and the Library at Mount Angel Abbey, Oregon. This text deals with the complex nature of Aalto's experience with America.

A stunning celebration of the architect's residential masterpieces Louis Kahn (1901-1974), one of the most important architects of the postwar period, is widely admired for his great monumental works, including the Kimbell Art Museum, the Salk Institute, and the National Assembly Complex in Bangladesh. However, the importance of his houses has been largely overlooked. This beautiful book is the first to look at Kahn's nine major private houses. Beginning with his earliest encounters with Modernism in the late 1920s and continuing through his iconic work of the 1960s and 1970s, the authors trace the evolution of the architect's thinking, which began and matured through his design of houses and their interiors, a process inspired by his interactions with clients and his admiration for vernacular building traditions. Richly illustrated with new and period photographs and original drawings, as well as previously unpublished materials from personal interviews, archives, and Kahn's own writings, The Houses of Louis Kahn shows how his ideas about domestic spaces challenged conventions, much like his major public commissions, and were developed into one of the most remarkable expressions of the American house.

Since its first appearance in 1981, critical regionalism has enjoyed a celebrated worldwide reception. The 1990s increased its pertinence as an architectural theory that defends the cultural identity of a place resisting the homogenising onslaught of globalisation. Today, its main principles (such as acknowledging the climate, history, materials, culture and topography of a specific place) are integrated in architects’ education across the globe. But at the same time, the richer cross-cultural history of critical regionalism has been reduced to schematic juxtapositions of ‘the global’ with ‘the local’. Retrieving both the globalising branches and the overlooked cross-cultural roots of critical regionalism, Resisting Postmodern Architecture resituates critical regionalism within the wider framework of debates around postmodern architecture, the diverse contexts from which it emerged, and the cultural media complex that conditioned its reception. In so doing, it explores the intersection of three areas of growing historical and theoretical interest: postmodernism, critical regionalism and globalisation. Based on more than 50 interviews and previously unpublished archival material from six countries, the book transgresses existing barriers to integrate sources in other languages into anglophone architectural scholarship. In so doing, it shows how the ‘periphery’ was not just a passive recipient, but also an active generator of architectural theory and practice. Stylianos Giamarelos challenges long-held ‘central’ notions of supposedly ‘international’ discourses of the recent past, and outlines critical regionalism as an unfinished project apposite for the 21st century on the fronts of architectural theory, history and historiography.

This comprehensive monograph presents fifty projects from throughout the four decades of Fehn's career. Featured are such important works as the Archbishopric Museum of Hamar, the Glacier Museum in Fjaerland, and the Aukrust Museum in Alvdal, all in Norway. Also included are a number of houses and several competition projects, both built and unbuilt. Each of the works in this volume is illustrated with extensive photography, presentation drawings, and Fehn's signature sketches. Complementing the architectural projects are essays by Francesco Dal Co, Christian Norberg-Schulz, and Gennaro Postiglione, which present an analytic portrait of the architect's career, and an anthology of writings by Fehn and critics.

Architectural Topographies is a critical dictionary for architects and landscape architects in which the graphic lexicon can be read from a beginning, the ground, to a conclusion, the specific case studies. Meant as a tool to help you recognise, analyse, choose, and invent solutions, the book's key words refer to the physical and material relationship between construction and ground; to where and how the link is built; to the criteria, methods, and tools used to know and transform the ground; and to the possible approaches to the place and their implications on the way the earth is touched. Fifty case studies by forty-six of the greatest architects of the previous hundred years are represented throughout in sectional drawings which place the buildings along the same ground plane to illustrate how the key words might be combined and to show each architect's position on their built work in relation to all the others. Includes projects by Alvar Aalto; Tadao Ando; Gunnar Asplund; Atelier Bow-Wow; João Batista Vilanova Artigas; Patrick Berger; Mario Botta; Marcel Breuer; Erik Bryggman; Gonçalo Byrne; David Chipperfield; Le Corbusier; Sverre Fehn; Aurelio Galfetti, Flora Ruchat, and Ivo Trumpy; Dick Van Gameren; Herzog and De Meuron; Steven Holl; Arne Jacobsen; Kengo Kuma; Anne Lacaton and Jean Philippe Vassal; Adalberto Libera; Frank Lloyd Wright; Paulo Mendes da Rocha; Ludwig Mies van der Rohe; Enric Miralles and Carme Pinos; Glenn Murcutt; Juan Navarro Baldeweg; Sheila O’Donnell and John Tuomey; Jan Olav Jensen and Børre Skodvin; John Pawson; Giuseppe Perugini, Mario Fiorentino, and Nello Aprile; Renzo Piano; Georges-Henry Pingusson; Rudolph Schindler; Roland Simounet; Alvaro Siza; Luigi Snozzi; Alejandro de la Sota; Eduardo Souto de Moura; Alison Smithson and Peter Smithson; Fernando Tavora; Jørn Utzon; Livio Vacchini; Francesco Venezia, Roberto Collovà, and Marcella Aprile; Amancho Williams; and Peter Zumthor.