Louis Hellman's unique method of describing the work of an architect by drawing their head in the style of their building is known the world over. The drawings have been an enormous success, and have been converted into postcards, posters, and calendars, yet this is the first time they will be displayed in a book.

Guest-edited by Samantha Hardingham This issue of AD celebrates the extraordinary life and work of British architect Will Alsop (1947–2018) – a career and portfolio that is both literally and metaphorically steeped in colour. Characterised as a maverickarchitect, Alsop was in truth an individualist who was all for the collective, and a non-conformist. His design aim was to replace ‘a little misery in the world with a little joy and delight’. Far from diminutive in ambition, many of his built projects caused big shifts in thinking about ways for citizens to perceive, occupy and enjoy their cities. He believed deeply in the active participation of clients to explore their architectural ideas, involving them in workshops and the making of films to help them to see and better understand what design could positively do for them. His buildings and artworks are as contentious as they have been highly acclaimed, but never fail to amaze and inspire. His continuous engagement in teaching, lecturing and exhibiting throughout his career, with academic posts held in the UK, Germany, Austria, Australia and the US, meant he always remained in touch and was a consistent source of encouragement to new generations of architects entering the profession. This AD aims to harness that creative energy, commitment and camaraderie. Contributors: Ollie Alsop, Thomas Aquilina, Nigel Coates, Peter Cook, Paul Finch, Mark Garcia, Clare Hamman, John Lyall, Bruce McLean, Will McLean, Kester Rattenbury, Marcos Rosello, and Neil Thomas.

Artists' Impressions in Architectural Design analyses the ways in which architects have presented their designs for clients and the public, both historically and contemporarily. It spans a period from the fifteenth to the twenty-first century. Architects have become familiar with change. The passage of time has brought with it new and revived styles of architecture, as well as innovative tools and techniques for their representation. The result is that while some methods show a view of the architect's concept for a building, others offer an almost real experience of the intended architecture. This book provides a rare and valuable study in which the exciting technological developments of today are placed in context with the rich heritage of the past. It offers an opportunity to learn how architects have chosen to represent their ideas. The authors dare to glimpse into the future and hopefully offer some reassurance for tomorrow.

Existentialism; Urbanism; Aporia; Deontic; Tabula Rasa; Hyperspace; Heterotopia; Metareality; Structuralism... What does it all mean? The unique language used in architectural theory – both in speech and writing – can appear daunting and confusing, particularly to new architectural students. Decoding Theoryspeak provides an accessible guide to the specialized language of contemporary design for the next generation of thinkers, architects and design leaders. It includes: definitions of over 200 terms clear cross-references illustrations throughout. It is an essential pocket-sized resource for students and practitioners alike.

A club house in a castle in the West End of London, complete with battlements and turrets, from 1882. A design for the post-war reconstruction of the City of London in 1945. A fantasy landscape featuring Le Corbusier’s Capriccio of Notre-Dame du Haut in ruins. A section of a 19th-century townhouse, showing a slice of the staircase wallpaper winding from deep navy on the ground floor to pale sky blue at the top. This is a treasury of architectural drawing from the 16th century to the present day. Exploring both how and why architects draw, it offers a rich visual history from Palladio, Inigo Jones and Augustus Pugin to contemporaries such as Richard Rogers, Foster Associates and Zaha Hadid, via Sir Christopher Wren, George Gilbert Scott and Erno Goldfinger, and everything else in between. From back-of-envelope concept sketches to painstaking pen and ink perspectives, exploded axonometrics and born-digital drawings, this book celebrates the full gamut of architectural representation. With over 200 lush, full-colour reproductions, this is a window into soul of architectural drawing over the past five hundred years. Includes newly digitised, never-seen-before material from the RIBA Collections, one of the largest architectural archives in the world. Explores rare drawings and designs from John Nash, Sir Edwin Lutyens, Frank Lloyd Wright and many more. Insightful commentary alongside each drawing ensures that they are as accessible and engaging as possible. Wide-ranging in scope, this book will both inspire and inform.

In a media-saturated world, humour stands out as a form of social communication that is especially effective in re-appropriating and questioning architectural and urban culture. Whether illuminating the ambivalences of metropolitan life or exposing the shock of modernisation, cartoons, caricature, and parody have long been potent agents of architectural criticism, protest and opposition. In a novel contribution to the field of architectural history, this book outlines a survey of visual and textual humour as applied to architecture, its artefacts and leading professionals. Employing a wide variety of visual and literary sources (prints, the illustrated press, advertisements, theatrical representations, cinema and TV), thirteen essays explore an array of historical subjects concerning the critical reception of projects, buildings and cities through the means of caricature and parody. Subjects range from 1750 to the present, and from Europe and the USA to contemporary China. From William Hogarth and George Cruikshank to Osbert Lancaster, Adolf Loos' satire, and Saul Steinberg's celebrated cartoons of New York City, graphic and descriptive humour is shown to be an enormously fruitful, yet largely unexplored terrain of investigation for the architectural and urban historian.

This book gathers peer-reviewed papers presented at the 3rd International and Interdisciplinary Conference on Image and Imagination (IMG), held in Milano, Italy, in November 2021. Highlighting interdisciplinary and multi-disciplinary research concerning graphics science and education, the papers address theoretical research as well as applications, including education, in several fields of science, technology and art. Mainly focusing on graphics for communication, visualization, description and storytelling, and for learning and thought construction, the book provides architects, engineers, computer scientists, and designers with the latest advances in the field, particularly in the context of science, arts and education.

This is not a book for architects, but for all those that have suffered, consciously and unconsciously, from modern architecture and have wondered how it came about. This was largely due to one man, an architect called Le Corbusier. For some he was a genius, but the truth is he was a sham, a fake, a charlatan whose only gift was for self-publicity. He was the most influential architect of the second half of the twentieth century; his influence overwhelmed the architectural profession on a global scale, who swallowed his publicity whole, and still hold him in awe. For the rest of the world, the mere mortals, his influence was disastrous, as traditional buildings were destroyed and replaced by featureless boxes of varying sizes, imposing a dreariness hitherto unimagined. As usual, it was the poor who suffered most as they were herded into tower-blocks. These were often grouped into estates that ringed many towns and cities, which then degenerated into high-rise slums with all the well-known attendant social problems. This book exposes the myths that surround Le Corbusier, detailing the endless failures of his proposals and his projects. These were due to his profound dishonesty, both as a person and as an architect. His legacy was an architectural profession that believed, and still believe, they were designing buildings based on logic, functionality and honesty whereas they were doing the opposite.