Focusing on images of New York, the rural South, and Miami from the 1890s to the 1940s, Mary N. Woods explores the ways photographers used the built environment to explore not only the gulfs but also the overlaps between modern and traditional culture in America during the early twentieth century.

This book explores the important relationship between the way we see and the way we draw architectural ideas. The text deals with sensory experience of space, the spatial cues represented in architectural drawing and the relationship between drawing type and design intent. It also addresses new forms of drawing provided by new technological aids such as animated computer graphics and virtual reality. It provides a comprehensive text for students of architecture, interior design and landscape architecture. Tom Porter is a best selling author of graphics books for designers.

First published in 1996, The Eyes of the Skin has become a classic of architectural theory. It asks the far-reaching question why, when there are five senses, has one single sense – sight – become so predominant in architectural culture and design? With the ascendancy of the digital and the all-pervasive use of the image electronically, it is a subject that has become all the more pressing and topical since the first edition’s publication in the mid-1990s. Juhani Pallasmaa argues that the suppression of the other four sensory realms has led to the overall impoverishment of our built environment, often diminishing the emphasis on the spatial experience of a building and architecture’s ability to inspire, engage and be wholly life enhancing. For every student studying Pallasmaa’s classic text for the first time, The Eyes of the Skin is a revelation. It compellingly provides a totally fresh insight into architectural culture. This third edition meets readers’ desire for a further understanding of the context of Pallasmaa’s thinking by providing a new essay by architectural author and educator Peter MacKeith. This text combines both a biographical portrait of Pallasmaa and an outline of his architectural thinking, its origins and its relationship to the wider context of Nordic and European thought, past and present. The focus of the essay is on the fundamental humanity, insight and sensitivity of Pallasmaa’s approach to architecture, bringing him closer to the reader. This is illustrated by Pallasmaa’s sketches and photographs of his own work. The new edition also provides a foreword by the internationally renowned architect Steven Holl and a revised introduction by Pallasmaa himself.

A novel interpretation of architecture, ugliness, and the social consequences of aesthetic judgment When buildings are deemed ugly, what are the consequences? In Ugliness and Judgment, Timothy Hyde considers the role of aesthetic judgment—and its concern for ugliness—in architectural debates and their resulting social effects across three centuries of British architectural history. From eighteenth-century ideas about Stonehenge to Prince Charles’s opinions about the National Gallery, Hyde uncovers a new story of aesthetic judgment, where arguments about architectural ugliness do not pertain solely to buildings or assessments of style, but intrude into other spheres of civil society. Hyde explores how accidental and willful conditions of ugliness—including the gothic revival Houses of Parliament, the brutalist concrete of the South Bank, and the historicist novelty of Number One Poultry—have been debated in parliamentary committees, courtrooms, and public inquiries. He recounts how architects such as Christopher Wren, John Soane, James Stirling, and Ludwig Mies van der Rohe have been summoned by tribunals of aesthetic judgment. With his novel scrutiny of lawsuits for libel, changing paradigms of nuisance law, and conventions of monarchical privilege, he shows how aesthetic judgments have become entangled in wider assessments of art, science, religion, political economy, and the state. Moving beyond superficialities of taste in order to see how architectural improprieties enable architecture to participate in social transformations, Ugliness and Judgment sheds new light on the role of aesthetic measurement in our world.

A stunning selection of black-and-white photographs taken by Michael Kenna over the past forty-five years. Michael Kenna is regarded as one of the most accomplished photographers working today. This book charts Kenna's work in the field of architectural photography, showing how his approach to the built environment informs his style, whether he's capturing natural or human-made structures. In page after page of lush duotone illustrations, the book creates dialogs between images to show how Kenna applies light, shadow, composition, and perspective to similar effect in different settings. Yvonne Meyer-Lohr's astute curatorial approach helps us understand how deftly Kenna moves between techniques, whether he is capturing the network of cables on a suspension bridge, the glittering jewels of a nighttime cityscape, or the haunting silhouette of a factory tower. Accompanied by insightful texts by Meyer-Lohr, this volume is a comprehensive look at a brilliant photographer whose dedication to craft and technique sets him apart from his contemporaries.

Typical architectural photography freezes buildings in an ideal moment and rarely captures what photographer Berenice Abbott called the medium's power to depict "how the past jostled the present." In Beyond the Architect's Eye, Mary N. Woods expands on this range of images through a rich analysis that commingles art, amateur, and documentary photography, genres usually not considered architectural but that often take the built environment as their subject. Woods explores how photographers used their built environment to capture the disparate American landscapes prior to World War II, when urban and rural areas grew further apart in the face of skyscrapers, massive industrialization, and profound cultural shifts. Central to this study is the work of Alfred Stieglitz, Frances Benjamin Johnston, and Marion Post Wolcott, but Woods weaves a wider narrative that also includes Alice Austen, Gertrude Käsebier, Berenice Abbott, Margaret Bourke-White, Helen Levitt, Lisette Model, Louise Dahl-Wolfe, Morgan and Marvin Smith, Eudora Welty, Samuel Gottscho, Walker Evans, Max Waldman, and others. In such disparate places as New York City, the rural South, and the burgeoning metropolis of Miami, these unconventional architectural photographers observed buildings as deeply connected to their context. Whereas Stieglitz captured New York as the quintessential modern urban landscape in the period, the South was its opposite, a land supposedly frozen in the past. Yet just as this myth of the Old South crystallized in photographs like Johnston's, a New South shaped by popular culture and modern industry arose. Miami embodied both of these visions. In Wolcott's work, agricultural fields where stoop labor persisted were juxtaposed with Art Deco hotels, a popular modernism of the machine age that remade Miami Beach into a miniaturized "Manhattan on the beach." Beyond the Architect's Eye is a groundbreaking study that melds histories of American art, cities, and architecture with visual studies of landscape, photography, and cultural geography.

"Is architecture art? This vexed question has been posed since the 1700s, when breaking from earlier centuries in which there were no divisions between visual artist, architect, and engineer architects and laypeople alike began to see these vocations as distinct. Exploring how this separation of roles occurred, and how in the twentieth century the arts and architecture began to come together again, "The Judicious Eye" is the definitive history of the relationships between painting, sculpture and architecture as they have shifted over the past three centuries. Joseph Rykwert locates the first major shift during the Enlightenment, when key philosophers drew implied and explicit distinctions between the visual arts and architecture. As time progressed, architects came to see themselves as part of an established profession, while visual artists increasingly moved toward society's margins, widening the chasm between them. Detailing the eventual attempts to heal this breach, Rykwert concludes his book in the mid-twentieth century, when the artistic avant-garde turned to architects in its battle against a stagnant society. "The Judicious Eye", then, provides a necessary foundation for understanding architecture and visual art in the twenty-first century, as they continue to break new ground by growing closer to their intertwined roots."--Provided by publisher.

A young architect's search for new architectural values in a time of economic crisis. I paused at the stoop and thought this could be the basis of a good book. The story of a young man who went deep into the bowels of the academy in order to understand architecture and found it had been on his doorstep all along. This had an air of hokeyness about it, but it had been a tough couple of days and I was feeling sentimental about the warm confines of the studio which had unceremoniously discharged me upon the world.—from Down Detour Road What does it say about the value of architecture that as the world faces economic and ecological crises, unprecedented numbers of architects are out of work? This is the question that confronted architect Eric Cesal as he finished graduate school at the onset of the worst financial meltdown in a generation. Down Detour Road is his journey: one that begins off-course, and ends in a hopeful new vision of architecture. Like many architects of his generation, Cesal confronts a cold reality. Architects may assure each other of their own importance, but society has come to view architecture as a luxury it can do without. For Cesal, this recognition becomes an occasion to rethink architecture and its value from the very core. He argues that the times demand a new architecture, an empowered architecture that is useful and relevant. New architectural values emerge as our cultural values shift: from high risks to safe bets, from strong portfolios to strong communities, and from clean lines to clean energy.This is not a book about how to run a firm or a profession; it doesn't predict the future of architectural form or aesthetics. It is a personal story—and in many ways a generational one: a story that follows its author on a winding detour across the country, around the profession, and into a new architectural reality.

A powerful reminder to anyone who thinks design is primarily a visual pursuit, The Senses accompanies a major exhibition at the Cooper-Hewitt Smithsonian Design Museum that explores how space, materials, sound, and light affect the mind and body. Learn how contemporary designers, including Petra Blaisse, Bruce Mau, Malin+Goetz and many others, engage sensory experience. Multisensory design can solve problems and enhance life for everyone, including those with sensory disabilities. Featuring thematic essays on topics ranging from design for the table to tactile graphics, tactile sound, and visualizing the senses, this book is a call to action for multisensory design practice. The Senses: Design Beyond Vision is mandatory reading for students and professionals working in diverse fields, including products, interiors, graphics, interaction, sound, animation, and data visualization, or anyone seeking the widest possible understanding of design. The book, designed by David Genco with Ellen Lupton, is edited by Lupton and curator Andrea Lipps. Includes essays by Lupton, Lipps, Christopher Brosius, Hansel Bauman, Karen Kraskow, Binglei Yan, and Simon Kinnear.