An illustrated collection of essays analyzing the work and cultural politics of the influential twentieth-century American architect Philip Johnson.

In his landmark volume Space, Time and Architecture, Sigfried Giedion paired images of two iconic spirals: Tatlin’s Monument to the Third International and Borromini’s dome for Sant’Ivo alla Sapienza. The values shared between the baroque age and the modern were thus encapsulated on a single page spread. As Giedion put it, writing of Sant’Ivo, Borromini accomplished 'the movement of the whole pattern [...] from the ground to the lantern, without entirely ending even there.' And yet he merely 'groped' towards that which could 'be completely effected' in modern architecture-achieving 'the transition between inner and outer space.' The intellectual debt of modern architecture to modernist historians who were ostensibly preoccupied with the art and architecture of earlier epochs is now widely acknowledged. This volume extends this work by contributing to the dual projects of the intellectual history of modern architecture and the history of architectural historiography. It considers the varied ways that historians of art and architecture have historicized modern architecture through its interaction with the baroque: a term of contested historical and conceptual significance that has often seemed to shadow a greater contest over the historicity of modernism. Presenting research by an international community of scholars, this book explores through a series of cross sections the traffic of ideas between practice and history that has shaped modern architecture and the academic discipline of architectural history across the long twentieth century. The editors use the historiography of the baroque as a lens through which to follow the path of modern ideas that draw authority from history. In doing so, the volume defines a role for the baroque in the history of architectural historiography and in the history of modern architectural culture.

Christian Norberg-Schulz’s Interpretation of Heidegger’s Philosophy investigates the theoretical contribution of the world-renowned Norwegian architectural theorist Christian Norberg-Schulz (1926 – 2000) and considers his architectural interpretation of the writings of German philosopher Martin Heidegger. Though widely recognised as providing the most comprehensive reading of Heideggerian philosophy through the lens of architecture, this book argues that Norberg-Schulz neglected one of the key aspects of the philosopher’s contributions: the temporal nature of being-in-the-world as care. The undeveloped architectural implications of the ontological concept of care in his work prevented the fruition of his ultimate aim, transforming the ‘art of place’ into an ‘art of living’. This book seeks to realign Norberg-Schulz’s understanding of time as continuity and change to present a holistic approach grounded in Heidegger’s phenomenological philosophy; architecture as art of care. Aimed at academics and scholars in architectural theory, history and philosophy, Christian Norberg-Schulz’s Interpretation of Heidegger’s Philosophy surveys the implications and significance of the theorist’s works on architectural criticism in the late 20th century.

Boredom is a ubiquitous feature of modern life. Endured by everyone, it is both cause and effect of modernity, and of situations, spaces and surroundings. As such, this book argues, boredom shares an intimate relationship with architecture-one that has been seldom explored in architectural history and theory. Boredom, Architecture, and Spatial Experience investigates that relationship, showing how an understanding of boredom affords us a new way of looking at and understanding the modern experience. It reconstructs a series of episodes in architectural history, from the 19th century to the present, to survey how boredom became a normalized component of the everyday, how it infiltrated into the production and reception of architecture, and how it serves to diagnose moments of crisis in the continuous transformations of the built environment. Erudite and innovative, the work moves deftly from architectural theory and philosophy to literature and psychology to make its case. Combining archival material, scholarly sources, and illuminating excerpts from conversations with practitioners and thinkers-including Charles Jencks, Rem Koolhaas, Sylvia Lavin, and Jorge Silvetti-it reveals the complexity and importance of boredom in architecture.

Postmodern architecture - with its return to ornamentality, historical quotation, and low-culture kitsch - has long been seen as a critical and popular anodyne to the worst aspects of modernist architecture: glass boxes built in urban locales as so many interchangeable, generic anti-architectural cubes and slabs. This book extends this debate beyond the modernist/postmodernist rivalry to situate postmodernism as an already superseded concept that has been upended by deconstructionist and virtual architecture as well as the continued turn toward the use of theming in much new public and corporate space. It investigates architecture on the margins of postmodernism -- those places where both architecture and postmodernism begin to break down and to reveal new forms and new relationships. The book examines in detail not only a wide range of architectural phenomena such as theme parks, casinos, specific modernist and postmodernist buildings, but also interrogates architecture in relation to identity, specifically Native American and gay male identities, as they are reflected in new notions of the built environment. In dealing specifically with the intersection between postmodern architecture and virtual and filmic definitions of space, as well as with theming, and gender and racial identities, this book provides provides ground-breaking insights not only into postmodern architecture, but into spatial thinking in general.

This collection of essays identifies and critically discusses the key terms, techniques, methodologies and habits that comprise our understanding of fieldwork in architectural education, research and practice.

The book proposes a new Cultural Realism and Virtualism design model for cultural and creative products based on Laozi’s philosophy and analysis of symbolism, metaphysics, three-layered culture, reverse-triangular cultural space and Zen aesthetics. It studies peoples that speak Austronesian languages and offers a detailed comparison of their homogeneous and heterogeneous cultures of color, clothing, housing, boats, birds, symbols, dance and ancestry, and provides insights into the cultural features of deconstruction and construction of color, style, form, shape and function, to compose cultural and creative products using complex, variable, fuzzy evaluation; and structural variation and color evaluation methods. It then uses case studies to show that the products created with the new model not only fulfilled their purpose, but also successfully entered the markets. This book helps qualify decision-making processes, improve accuracy of design scheme evaluation and enhance efficiency in product development, and as such appeals to those in the cultural and creative industry, researchers, designers and those who are interested in product design.

Histories of Architecture Education in the United States is an edited collection focused on the professional evolution, experimental and enduring pedagogical approaches, and leading institutions of American architecture education. Beginning with the emergence of architecture as a profession in Philadelphia and ending with the early work, but unfinished international effort, of making room for women and people of color in positions of leadership in the field, this collection offers an important history of architecture education relevant to audiences both within and outside of the United States. Other themes include the relationship of professional organizations to educational institutions; the legacy of late nineteenth-century design concepts; the role of architectural history; educational changes and trans-Atlantic intellectual exchanges after WWII and the Cold War; the rise of the city and urban design in the architect’s consciousness; student protests and challenges to traditional architecture education; and the controversial appearance of environmental activism. This collection, in other words, provides a relevant history of the present, with topics of concern to all architects studying and working today.

Chicago Architectural Club, 1894-1914 -- The Work of Frank Lloyd Wright, 1893-1930 and Modern Architecture : International Exhibition, Museum of Modern Art, 1932 -- Broadacre City, 1935 -- Museum of Modern Art, 1933-53 -- The Italian exhibition and Sixty Years of Living Architecture, 1951-56 -- Coda: 1957-59 -- Conclusion -- Appendix A. Chronological list of exhibitions -- Appendix B. Chronological list of models

This is a unique and comprehensive study of the entire span of Finnish architecture in the 20th century. Using comparative critical analysis, the author weaves Aalto's contribution into his overview of the evolution of modern Finnish architecture and includes the work of a range of lesser published figures. It will be of considerable interest to architects, art historians and all those interested in modern Finnish architecture.