Architecture
Vernacular Architecture and Regional Design: Cultural Process and Environmental Response
Vernacular Architecture and Regional Design: Cultural Process and Environmental Response
Product Description
A governing principle of sustainable architecture is that buildings need to reflect upon and respond to the environment they are placed in. Through a series of international case studies, Vernacular Architecture and Regional Design re-examines vernacular architectural theory and looks at what gives buildings a sense of place.
The book equips the professional architect with the tools to realise socially responsible principles as part of the design process. The case studies of contemporary architects’ work provide real examples of how the study of vernacular architecture can contribute directly to practice in sustainable design. It considers architecture and design as integrated social processes, not just technical or aesthetic exercises, thus showing how local building traditions can become part of a wider architectural and social fabric.
Vernacular Architecture and Regional Design will appeal to professionals around the world in the fields of architecture, architectural heritage and urban design.
* A series of international case studies demonstrates the place of vernacular architecture in the design process for a wide selection of contemporary architects’ work.
* Offers a clear analysis of the vernacular building tradition, placing architecture in its social context.
* Introduces a new, socially and environmentally inspired approach to sustainable design.
About the Author
Currently Professor of Architecture and Historic Preservation at the University of Oregon, USA, Kingston Wm. Heath Ph.D. has also worked in the fields of architectural history and building conservation, in consulting and surveying roles. He has written numerous research papers and has published seveal articles in publications such as Perspectives in Vernacular Architecture and Wiley’s Encyclopedia of Architecture. His teaching specialities currently include the history of American and Modern architecture, and preservation.
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Ameba Collection
Designed by Barcelona-based studio ZooCreative for Delica, the Ameba is a collection of unique table placemats, offering table protection as well as a small gesture in the form of a curved corner that discreetly sticks out for optimum mobility. (more…)
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The Anglesea House
The Anglesea House, designed by Melbourne-based architect Andrew Maynard, is a family holiday home extension, based on the great Australian tradition of the ‘shack’. (more…)
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Fusion Double Jigger
Invite your family and friends to your house for the best cocktail party in town! All you need right now is a double Jigger to make that perfect drink. (more…)
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Bookshelf » Author Q&A: The BLDGBLOG Book
by Jimmy Stamp
Many of you had the pleasure of reading Geoff Manaugh's work while he was a Senior Editor here at Dwell, but if you've not yet checked out the blog he's been writing for the last five years or so, you're missing out. BLDGBLOG is one of the most unique, mind-bending architecture blogs out there—so much so that calling it simply an "architecture blog" fails to describe the veritable firehose of thought that pours from Manaugh's fingers and fills his corner of the blogosphere. While reading the entirety of BLDGBLOG's digital archive would be a monster task, you can get a generous survey with the newly released book by the same name. Published by Chronicle Books (and with contributions from Dwell's own senior designer Brendan Callahan and photo editor Alexis Tjian), The BLDGBLOG Book brings a hefty portion of Manaugh's architectural conjecture, urban speculation and landscape futurism to the printed page. It's the kind of book you can read cover-to-cover or dip into at intervals for a jolt of far-out ideas. Dwell.com contributor Jimmy Stamp asked Manaugh a few questions about the process of taking up a different medium and completing a book.
Sunny Lounger
On the patio or out on the beach, sunny days are here to be celebrated with loved ones and a glass of cold minty mojito. Complementing this oh so relaxing mode is Sunny, a colorful outdoor lounge collection by Lebello, featuring a comfortable, stylish lounge chair (available with or without arms) completed with an optional foot stool or side table. (more…)
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Maison Flottante
Maison Flottante or The Floating House is a 23 meters long barge, commissioned by the Cneai national contemporary art center for publication, to be used as a studio for its resident artists and authors. (more…)
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Egg Planters
The hanging Egg Planter is a part of the Egg Collection by NY-based studio, J Schatz. A durable yet delicate, hand carved ceramic planter, featuring a beautifully finished glossy egg shape with a 3” opening that is simply perfect for small potted plants - a decorative addition to your indoor or outdoor space. (more…)
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Flipper Measuring Tools
No more fumbling for multiple measuring sets, while busy baking in the kitchen or rushing to put dinner on the table, because these colorful cups and spoons “flip over” into various, handy measurement cooking tools. (more…)
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Don't let the door hitcha on the way out ;-
And first, some straight talk for some, just some in the media because another right protected for all of us is freedom of the press, and you all have such important jobs reporting facts and informing the electorate, and exerting power to influence. You represent what could and should be a respected honest profession that could and should be the cornerstone of our democracy. Democracy depends on you, and that is why, that’s why our troops are willing to die for you. So, how ’bout in honor of the American soldier, ya quit makin’ things up.
from Governor Palin's resignation speech, transcribed by The Mudflats"Patriotism is the last refuge of the scoundrel." What does criticism of Palin have to do with soldiers? Nothing, other than that Palin would like to cloak herself in their sacrifice.
When art is described this way, you know it will not be beautiful.
Here are some descriptions from a very successful and influential non-profit arts organization in New York City:
the most important, ground-breaking, challenging and exceptional art of our times
Above all, we privilege artists' ideas.
take bold new risks that value process, content and possibilities.pushing artists beyond their comfort levels, just as they push us beyond ours.
In the process, artists engage in a dynamic conversation between site, audience, and context, offering up new ideas about who an artist is and what art can be, pushing culture into fresh new directions.
In my humble opinion, these are the cliches of the 20th century. Thirty-five years ago, Tom Wolfe was already calling them dated and faddish (see The Painted Word). They appeal to the intellect rather than the senses. The soul, on the other hand, craves beauty. It connects us to something bigger than ourselves.
Costanzina Wall Light
Design by Paolo Rizzatto for Luceplan, the Costanzina is a slender and discrete wall lamp, which fits easily into any room, whether public or private. What i like most about this lamp is its flexibility - It can be mounted regardless of whether a light socket is available, thanks to its cable that can be lowered to the nearest mains plug. (more…)
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The Kokoris Residence
The San Francisco-based Kokoris Residence, by Jensen Architects, is a modern, hillside home with an inviting, all-glass front porch extension. (more…)
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Supersize Me
THE STADIUM on the right in the photo above seats fewer people than the older Stadium on the left. It sprawls over a much larger area because the seats in the decks are farther from the field and because it has so many more restaurants, bars and food stands around those seats.
I've said before that I enjoyed my first visit to the new Stadium. It is after all the home of the New York Yankees, and sitting in the new stadium reminds one of sitting in the old stadium, the scene of many fond memories.
Today I got a free ticket in the "moated" section of the stadium. Behind home plate, these seats famously cost $1,250, "reduced" from the original price of $2,500. This has been a public relations disaster for the Yankees – people are losing their jobs, and the Yankees season ticket plans for four of these seats cost $810,000 per year. Let them eat hot dogs.
To get to the seats, you enter through a gate for all the most expensive seats and boxes. If you've paid enough, you get a blue wristband that entitles you to unlimited free food, served at your seat or in a restaurant.
Continuing to the seats, you go down into a large windowless restaurant. Except for the lack of windows, it reminds me a BBQ restaurant I went to in the Bronx last month. That's not a good thing.
As you leave the restaurant, there is a groaning table of candies (Twizzles, Skittles, Chuckles, Twix, etc), coolers of soda and a freezer with ice cream -- all for grabbing on your way out.
The word "gluttony" came to mind as we went out, and despite the wonderful seats I got nostalgic for the original stadium.
BTW, the seat I was given, had a face value of "only" $325, and came with all the free food etc. of the $2,500 / $1,250 seats a short distance away.Charging more than 7 times as much for those was just bad taste and bad PR on the part of the Yankees. Sitting near us were kids who had bought tickets on the internet in our section for well below the asking price.
V&V: The Real Yankee Stadium
V&V: The Good, the Bad & the Ugly (new Yankee Stadium)
How Gehry?
THERE'S BEEN a certain amount of talk on the internet about an encounter at the Aspen Ideas Festival between Frank Gehry and Fred Kent, President of Project for Public Spaces. Since James Fallow's initial post about this, a video has gone up on the web here.
Gehry lives in world of starchitecture and celebrity where he's often treated like a visiting god. Plus, he grew up in an architectural culture that encouraged egotism on the architect's part, hangs out with egocentric artists in Los Angeles and works for corporate CEOs who think they deserve $250 million golden parachutes. He wouldn't put it that way, of course, but I've known enough Starchitects to see how much they follow the Howard Roark paradigm, whether they think so or not.
About three-quarters of the way through the video, questions are taken from the audience, and Kent introduces himself as "the Department of Corrections," who has to [emphasis mine] go around the world fixing the work of Starchitects, including Gehry's – an introduction guaranteed to get Gehry's back up.
Kent correctly says that we have a problem today of "iconic" buildings that don't make places or create a sense of place. "What I'm trying to do," he says, "is to challenge you to be able to do that," which are obviously fightin' words. "I'm sorry but I have to go and fix [your] places."
At that point, Gehry calls Kent "pompous" and waves him away in a dismissive fashion that upset Fallows. But no one, least of all a "legendary architect" (as the Aspen Ideas Festival calls him), likes to be so negatively characterized.
What's interesting is that the next question from the audience gets Gehry talking about the role iconic and background buildings play in the city. Interesting because it suggests that there was a possible conversation between Gehry and Kent, and interesting because it shows that Gehry, who almost always designs iconic buildings, regardless of program, doesn't necessarily think that's the best way to make cities.
Two examples of iconic Gehry buildings that would be better background buildings are MIT's Stata Center and the residential towers at Atlantic Yards. 'There is certainly a place in the built environment for modest construction," Gehry says, "certainly in housing."
In a stream of consciousness he continues, "the planning becomes more important, the creation of public spaces, the buildings become more background, and a lot of the buildings that should have been more background have been layered with all kinds of junk and so called decoration and people seem to want that and so that's kinda what I'm talking about." (It would also be interesting to know what he means by "all kinds of junk" and "people seem to want that.")
I'm not a Gehry expert, but I've seen a number of his buildings, and the only one I wouldn't call "iconic" is his DZ Bank in Berlin (above), where the local planning authorities required that he make a sober street wall. Consequently, the "architecture" is in an interior court, and that's where most of the online photos are from, even though the general public is not allowed in the court.
V&V: We hold these truths to be self-evident
V&V: I love the Guggenheim Bilbao, but sometimes a picture's worth a thousand words.
V&V: The Best Way To Develop Atlantic Yards & Hudson Yards
Wooden Dolls by Alexander Girard
Inspired by the popular art of South America, Asia and East Europe, this quirky bunch was designed by the famous textile designer Alexander Girard, which alongside Charles and Ray Eames as well as George Nelson, was one of the decisive figures in post-War American design. (more…)
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Fallows, Gehry, Kent
There's been a certain amount of talk on the internet about an encounter at the Aspen Ideas Festival between Frank Gehry and Fred Kent, President of Project for Public Spaces. Since James Fallow's initial post about this, a video has gone up on the web here.
Gehry lives in world of starchitecture and celebrity where he's often treated like a visiting god. On top of that, he grew up in an architectural and artistic culture that encouraged egotism on the architect / artist's part. He wouldn't put it that way, of course, but I've known enough Starchitects to see how much they follow the Howard Roark paradigm, whether they think so or not.
About three-quarters of the way through the video, questions are taken from the audience, and Kent introduces himself as "the Department of Corrections," who has to [emphasis mine] go around the world fixing the work of Starchitects, including Gehry's – an introduction guaranteed to get Gehry's back up.
Kent correctly says that we have a problem today of "iconic" buildings that don't make places or create a sense of place. "What I'm trying to do," he says, "is to challenge you to be able to do that," which are obviously fightin' words. "I'm sorry but I have to go and fix [your] places."
At that point, Gehry calls Kent "pompous" and waves him away in a dismissive fashion that upset Fallows. But no one, least of all a "legendary architect" (as the Aspen Ideas Festival calls him), likes to be so negatively characterized.
What's interesting is that the next question from the audience gets Gehry talking about the role iconic and background buildings play in the city. Interesting because it suggests that there was a possible conversation between Gehry and Kent, and interesting because it shows that Gehry, who almost always designs iconic buildings, regardless of program, doesn't necessarily think that's the best way to make cities. (Two examples that come immediately to mind are Atlantic Yards and MIT's Stata Center.)
'There is certainly a place in the built environment for modest construction," Gehry says, "certainly in housing."
In a stream of consciousness he continues, "the planning becomes more important, the creation of public spaces, the buildings become more background, and a lot of the buildings that should have been more background have been layered with all kinds of junk and so called decoration and people seem to want that and so that's kinda what I'm talking about." (It would also be interesting to know what he means by "all kinds of junk" and "people seem to want that.")
I'm not a Gehry expert, but I've seen a number of his buildings, and the only one I wouldn't call "iconic" is his DZ Bank in Berlin (above), where the planning authorities required that he make sober street wall. Consequently, the "architecture" is in an interior court, and that's where most of the online photos are from, even though the general public is not allowed in the court.a lot of room for exploration
iconic abused
"in history the buildings that are important ot have some kin
courthouses, theater, music halls, opera halls, librairies and public buildings and city halls and so on and the background buildings should be that
I don't everything should have this exuberance of because
when you go around the world
people go vist the parthenon, cathedrals, the great buildings that identify cities
cities become identified with those places and those buildings
and from there it's how the city is planned around those buildings
A Twentieth Century Trifecta
"Art is made to disturb," Georges Braque.
(via the Denver Post & Car Free in Big D)
And below in V&V, Postmodern, thy name is Misanthrope. & I love the Guggenheim Bilbao, but sometimes a picture's worth a thousand words.
