Book Description
The Second Edition of this classic introduction to the principles of architecture is everything you would expect from the celebrated architect, author, and illustrator, Francis D. K. Ching. Each page has been meticulously revised to incorporate contemporary examples of the principles of form, space, and order-the fundamental vocabulary of every designer. The result is a beautifully illustrated volume that embraces today's forms and looks at conventional models with a fresh perspective. Here, Ching examines every principal of architecture, juxtaposing images that span centuries and cross cultural boundaries to create a design vocabulary that is both elemental and timeless. Among the topics covered are point, line, plane, volume, proportion, scale, circulation, and the interdependence of form and space. While this revision continues to be a comprehensive primer on the ways form and space are interrelated and organized in the shaping of our environment, it has been refined to amplify and clarify concepts. In addition, the Second Edition contains:
* Numerous new hand-rendered drawings
* Expanded sections on openings and scale
* Expanded chapter on design principles
* New glossary and index categorized by the author
* New 8 1/2 × 11 upright trim
In the Second Edition of Architecture: Form, Space, and Order, the author has opted for a larger format and crisper images. Mr. Ching has retained the style of his hand-lettered text, a hallmark of each of his books. This rich source of architectural prototypes, each rendered in Mr. Ching's signature style, also serves as a guide to architectural drawing. Doubtless, many will want this handsome volume for the sheer beauty of it. Architects and students alike will treasure this book for its wealth of practical information and its precise illustrations. Mr. Ching has once again created a visual reference that illuminates the world of architectural form.
Customer Reviews:
Interesting.......2007-02-07
I picked it up as a first architecture book. Its not. Its more or less hundreds of pages of drawings with themes on each page to make you think about that form. Good for understanding basic forms.
ok book........2007-01-05
i have not used this book so much ever since i bought it but from wat i've seen, its mostly about architectural spaces... meaning space inside a structure, it also shows amazing sections, like the ones on the cover.... if you want to learn more about interior spaces this book is great...
Excellent Edition to Your Reference Library.......2006-09-26
I purchased this book during my first semester as an architecture student and am still referencing it well into my third semester. It has good text but the high quality illustrations are what I find most helpful. Many of them are representations of existing structures. Great Book!
A Primer not just for Architecture but for Creative Thought.......2006-04-12
As an artist, designer and storyteller, I find Dr. Ching's book to be a revelation. You can open it to any page, like casting the I Ching, and begin to read. His draftsmanship, his infinite patience and exceptionally ordered mind places even the most esoteric subject firmly into perspective. And it seems to rub off on the reader. If you are ever blocked for any reason, duplicate a page. I guarantee you'll return to your own work with fresh insight.
Can't Afford To Miss It!.......2006-04-11
Hi! I'm a practising architect. All 5 years of my study, i evaded buying the book: always taking photocopies of isolated pages from my college library. After practising for more than an year now, i feel that one simply ought to know Ching (this book). Without the fundamentals of this book, our architecture does not speak the language it ought to. After saving enough money, this is the costliest and most eagerly awaited book for me, ever...i'm waiting for it to land so that I can start digging!!
And yes....even after paying a fat amount as shipping, the book still remains the BEST buy....only from Amazon!
Book Description
Architects Jesse Reiser and Nanako Umemoto have been generating some of the most provocative thinking in the field for nearly twenty years. With Atlas of Novel Tectonics, Reiser+Umemoto hone in on the many facets of architecture and illuminate their theories with great thought and simplicity. The Atlas is organized as an accumulation of short chapters that address the workings of matter and force, material science, the lessons of art and architectural history, and the influence of architecture on culture (and vice versa). Reiser+Umemoto see architectural design as a series of problem situations, and each chapter is an argument devoted to a specific condition or case.
Influenced by a wide range of fields and phenomena Brillat-Savarin's classic The Physiology of Taste is one of their primary models the authors provide a cross-section of thinking and inspiration. The result is both an elucidation of the concepts that guide Reiser+Umemoto through their own design process and a series of meditations on topics that have formed their own sense as architects. Atlas of Novel Tectonics offers an entirely fresh perspective on subjects that are generally taken for granted, and does so with a welcome punch and energy.
Customer Reviews:
Difficult Writing vs Clear Expression.......2007-06-07
This book gets lots of play right now in (big "A") Architecture schools. I'm a firm believer that if your thoughts are clear, your writing is clear. This book embarks on many dialectical examples that are explained with too much "difficult writing" for its own good. Grad students of the world, beware the three DDDs that inspire some of this writing: Deleuze, Derrida and Delanda. They plow enormous fields in complicated patterns and only yield a kernel or two. Ironically, I admire Reiser + Umemoto as architects and am looking forward to a book on their more recent work.
The Sinews of Design.......2007-05-07
An unxpectedly fine book on architectural theory that's rooted not in politics or aesthetics or lit-crit theory, but in the worlds of physics and engineering-- a look at architecture and architectural possibilities based on the sinews of buildings rather than the ideology of architects. I'm an historian by training, and an aficionado of architecture and design theory. Reiser + Umemoto have created a small book that offers a view of postmodern architecture seen through the lens of the physically possible. Anyone who wants to imagine new cities and new styles of building needs to consider the sheer physical constraints of design, and this book is a fine place to start.
Must read.......2007-03-26
Must read lexicon of architectural forays and methodologies for any critical architect or designer.
Book Description
A practical text for learning how to design buildings in the classical tradition today.
An exceptionally approachable, thorough, informative guide to the theory and technique of designing classical buildings, as taught by a graduate of the École des Beaux-Arts. Generously illustrated with sketches, freehand diagrams, renderings, and photographs, this book gives a lively, contemporary reality to what sometimes seems a remote subject. 200 photographs and line drawings.
Customer Reviews:
A superb introduction to classical architecture.......2006-11-02
This book was recommended to me by an architect. It clearly explains and illustrates the basic principles of classic architecture. The drawings and photographs are particularly well chosen. Though this book is not a difinitive guide, it is the best book that I have found for the reader looking for a basic understanding of the principles. I particularly enjoyed reading the chapter on "the ten timeless cannons" of classical architecture as well as the chapter entitled "The language of classical architecture: fifteen things to know."
I think that the reader would find it very useful to combine reading this book with another book: Traditional Construction Patterns, by Stephen A. Mouzon.
I highly recommend Classical Architecture, which was written in association with (and recommended by) CLASSICAL AMERICA.
Superbly filling a need.......2005-11-07
THis book is a critically important and necessary tool for anyone wanting to understand classical architecture, whether to gain greater appreciation of historic buildings or in order to make new ones. Professor Gabriel's book is intended as a textbook for the study of classical design, whether in a formal architectural course or independently. In pursuit of this aim, the book presents thorough treatments of the major principles and techniques related to the discipline. His presentation of the underlying principles of classical planning, the orders, proportion, and ornament are very accessible and complete. The author manages to de-mystify the subject, while at the same time giving us an enhanced sense of the artistry behind all the examples he uses. Exhaustive treatment of the individual subjects is not his aim, but I found his comments both informative and subtle. Readers wishing to pursue any of the subjects in greater detail can avail themselves of the many references cited.
One the great advantages of Gabriel's book is that it includes so many examples from his native French tradition. Americans tend to know little in detail about French architecture and theory. This book deepens our acquaintance with the well-known architects, such as Mansart and Ange-Jacques Gabriel, but also introduces lesser known and modern French masters, most notably Emilio Terry.
Gabriel's instruction in watercolor wash rendering technique is very helpful, and the examples he illustrates, all by his former Syracuse University students, demonstrate that these skills can be learned and a high degree of proficiency attained today.
I found the book excellent in presenting this material in a way that appeals to both younger and more mature students of design. It is a welcome and needed resource.
Not What The Title Says.......2005-10-08
i am of two minds about making classical, beaux arts buildings today. on the one hand it does make for fine and elegant buildings. i believe that it is easier for a mediocre designer to produce a decent classical building than a decent modernist building. but i have misgivings about building 21st century buildings aping the style but not the construction systems of 300 years ago. we can't build they way they did, classical buildings today are like stage sets, they look great, but behind the canvas, it's all ropes and scaffolding. so, i was interested to read how and why to do classical buildings in the 21st century.
the author, jean francois gabriel, one of the last graduates of the ecole des beaux arts in paris, now teaches in the united states. he has legitimate classical credibility, unlike graves or the krier brothers.
it is a peculiar book, one part manifesto, one part text book, one part pattern book. it satisfies in none of these catagories. it seems to be written for the student, but has sections clearly directed at teachers, and has appeals to professionals to jump on the classicist bandwagon. the illustrations, many of them hand drawn in ink by the author or hand rendered in washes by his students, are lively, lovely, and engaging. i wish the same could be said of the text. the text is clear, but suffers from poor relationships between the prose and the subject illustrations, making reading somewhat difficult and jerky as your eye scans for the appropriate illustration.
the book's biggest problem, in my opinion, is that it lacks two crucial chapters. had it had a chapter on the orders, described in detail how the orders are rendered, their parts, the proportions of each part to the others, and a chapter on beaux arts planning and methods of composing buildings in plan, this book would have been far more useful to students, teachers and professionals. the orders are discussed, but not in depth or detail. thomas gordon smith's book, classical architecture/rule & invention provides a fine example of what is missing with regard to describing the orders. and frustratingly, the only mention of beaux arts organizational planning is a single throw away line about using axises and enfelades. okay...how?
the organization of the book seemed peculiar to me. in the midst of the discussions of how to treat rooms and outdoor spaces, there is a chapter on how to make watercolor wash renderings, followed by more chapters about massing and facades. the rendering chapter might have been better omitted, or placed at the end as an appendix.
there is little discussion of why classical architecture should be adopted in the 21st century, nor is there any discussion of how classical architecture gets adapted to the very different needs, uses and building types of the 21st century. it's a pretty book, i love the drawings, but of very limited usefulness to students, teachers or professionals.
Book Description
"Professor Wittkower's....studies of humanist architecture are masterpieces of scholarship."-Sir Kenneth Clark, Architectural Review.
A fourth edition of the forty-year-old classic.
Focusing on the principal architects of that time-from Alberti to Palladio-this bestselling classic explains the true significance of certain architectural forms, bringing to light the connections between the architecture and culture of the period. With publication scheduled to coincide with that of Architectonics of Humanism, this important reference is superbly reproduced in a new, large square format.
The late RUDOLF WITTKOWER was a college professor and eminent scholar residing in London, England.
Customer Reviews:
More than just Architecture!.......2004-03-10
Already recognized since 1949 as "a masterpiece in scholarship" in its field by several eminent architects, the 173 page tome: ARCHITECTURAL PRINCIPLES IN THE AGE OF HUMANISM, 4th ed. (1971) by Rudolf Wittkower; had, incidentally, also provided an in-depth explanation on proportion and ratio as they differed in usage between architectural procedure and Boethian mathematics.
Of special importance is part four 'The Problem of Harmonic Proportion in Architecture' (p. 101) where the author made the salient point that "Although the Pythagoreo-Platonic concept of the numerical ratios of the musical scale never disappeared from mediaeval [sic], theological, philosophical, and aesthetic thought, there was no over-riding need to apply them to art and architecture" (p. 159).
Rudolf Wittkower unknowingly provided in part four the distinction between an elite Quadrivium education containing Boethian "mathematical arts" while "the 'liberal arts' of painting, sculpture, and architecture were regarded as manual occupations" (p. 117). The author explained "That the high Renaissance architects shunned theory" and "that they were practitioners rather than thinkers" (p. 30). And further "Italian architects strove for an easily perceptible ratio between length, height, and depth" (p. 74). So then according to this author, all of the Renaissance architects conception of architecture was based on a "commensurability of ratios" (p. 108).
Rudolf Wittkower indicated "that the [Renaissance] architect is by no means free to apply to a building a system of ratios of his own choosing, that the ratios have to comply with conceptions of a higher order and that a building should mirror the proportions of the human body" (p. 101). In developing the centrally planned church, Renaissance architects faced the dilemma of the pragmatics of church construction combined with the belief in divinity and the acceptance of Roman Catholic dogma.
The Church was to provide the "easily perceptible ratio" with the simple logic that "As man is the image of God and the proportions of his body are produced by divine will, so the proportions in architecture have to embrace and express the cosmic order" (p. 101). That cosmic order and harmony are contained in certain numbers Plato explained in his TIMAEUS.
Assigned to the architects, a Quadrivium trained Roman Catholic friar and musical theorist, Franchino Gaffurio (1451-1522) "in a truly Platonic spirit he regarded this principle of harmony as the basis of macrocosm and microcosm, body and soul, painting, architecture, and medicine" (p. 124). It was under this famous Renaissance musical theorist in 1525 that "the old belief in the mysterious efficacy of certain numbers and ratios was given new impetus" (p. 102). "It was Pythagoras who discovered that tones can be measured in space. What he found was that musical consonances were determined by the ratios of small whole numbers. If two strings are made to vibrate under the same conditions, one being half the length of the other, the pitch of the shorter string will be one octave (diapason) above that of the larger one" (p. 102). "Thus the consonances, on which the Greek musical system was based - octave, fifth, and fourth - can be expressed by the progression 1:2:3:4. One can understand that this staggering discovery made people believe that they had seized upon the mysterious harmony which pervades the universe" (p. 103).
"The musical consonances are determined by the mean proportionals; for that the three means constitute all the intervals of the musical scale had been shown in the TIMAEUS. Classical writers on musical theory discussed this point at great length. An exhaustive exposition is to be found in Boethius' DE MUSICA, first printed in Venice in 1491-92, and of very great importance for the doctrine of numbers throughout the Middle Ages and during the Renaissance" (p. 111).
Yet Boethius's DE MUSICA was de-emphasized by Renaissance architects in recognition that the "harmony of the universe which Plato had described in the TIMAEUS on the basis of Pythagora's discovery of the ratios of musical consonances" prompted the "application of Pythagoreo-Platonic system of harmonic ratios directly to architecture" (p. 125). As it turned out (not surprisingly) "Gafurio [sic] was regarded by his contemporaries as a critic in architectural matters" (p. 125).
The author of ARCHITECTURAL PRINCIPLES IN THE AGE OF HUMANISM provided the evidence that although the Quadrivium of the mathematical arts of music, astronomy, geometry, and Boethian proportion and ratio, was known to the Renaissance high architects, they preferred the 'harmonic proportion'; 'proportion of excess'; and the 'proportio proportionum'; derived directly from Plato's TIMAEUS and Pythagoras's three means (arithmetic, geometric, and the harmonic) over Boethius's DE MUSICA, though it was a substantial part of friar Gaffurio's ecclesiastical education. This resulted in "proportionally integrated 'spatial mathematics', which we have recognized as a distinguishing feature of humanist Renaissance architecture" (p. 26).
In comparison, for the practical application of Boethian proportion and ratios, please read: THE PHILOSOPHER'S GAME (2001) by Dr. Ann E. Moyer, where the rules of Boethian proportion found in rithmomachia, had been clearly defined, though inadvertently, by Rudolf Wittkower.
Average customer rating:
- great book on epistemology
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Proportion: Philosophy, Science and Architecture
Richard Padovan
Manufacturer: Taylor & Francis
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Geometry of Design: Studies in Proportion and Composition
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Architecture and Geometry in the Age of the Baroque
ASIN: 0419227806 |
Book Description
This book provides a well-illustrated and readable comparative guide to proportion systems in architecture, setting out the mathematical principles that underlie the main systems and illustrating these with examples of their use in historical and modern buildings. The text traces the interplay of abstraction and empathy through the history of science, philosophy and architecture from the early Greeks through to the two early twentieth-century architects who made proportion the focus of their work, Le Corbusier and Van der Laan, and ends with a reflection on the present and future role of proportion in architecture.
Customer Reviews:
great book on epistemology.......2004-05-24
beyond architecture, this book examines the racionalist vs. empirist debate in science, art and phillosophy. most impresive is the way it disolves the dilemma, explaining that both approaches are essentially the same as knowledge is acquired via a continuous process of inventing and discovering, inhaling and exhaling, imposing laws on nature and observing them.
Book Description
This imaginative book offers architecture students over 100 examples of visual problem-solving in architectural design. Paired before-and-after illustrations demonstrate the sorts of real-life situations that architectural design courses rarely teach students how to address, and show how designers can manipulate form, space, and material to achieve desired effects: emphasizing or diminishing building elements, imposing visual order on a facade, or adding grace notes. 250 b/w illustrations.
Customer Reviews:
Finally, a visuall book about visual quality!.......2002-11-09
Why this book has not been written before? its arguments are compelling, the evidence is before our eyes. Why was I never exposed to a similar book during my 8 years of studies at the Ecole des Beaux Arts?
"The Designer's Eye" is about visual tradecaft. It shows on the same page, on the right side the way a building could have been, and on the left side the way it is. The difference between the 2 images is a visual detail, sometime very simple (say, a painted horizontal line) sometime more elaborate (say, a cornice). The visual result of this before and after approach is compelling.
From time to time a little humorous vignette is added to illustrate with a non architectural detail - usually borrowed from women fashion - the visual point made on the page.
The great strength of Brolin's book is that it shows real examples selected among a wide range of buildings. Some are architectural icons like the "Palazzo Nuevo" from Michelangelo, other are anonymous buildings like a suburban house in Pensylvania.
Ninety percent of the book is visual, no long winded theory, just two images next to each other, and a few lines of comments below, in case ones doesn't get the point right away.
The Designer's Eye demonstrates that no building needs to be visually unpleasant. A little care about the way things will look from the street will do wonder. Designers and builders who do not have instinctively this visual sensitivity would be well advised to borrow freely from Brolin's examples which are grouped by architectonic themes, facades, edges, details, etc.
For those who think that they are already visually creative, a little reminder of all the tricks of the trade might also help.
This book is a must for architects, remodellers, and more broadly for people interested in improving the visual quality of their own environment, at least when they have any control over it.
I only regret that the book is not in colour, or may be on a CDROM. May be a future coffee table book edition?
PS. I know why this book has not be written before. Without digital images and the possibility of modifying them easily this book would be impossible to produce. Previous books dealing with the same subject would have to ask the reader to imagine what the Michelangelo' capitol would look like without the "Grand Ordre" spanning two floors. Impossible to do without becoming terribly verbose, and therefore boring for the visually oriented.
Customer Reviews:
it's my favorite rendering book.......1999-08-04
When I found this book back in college in 1979, I finally learned perspectives and rendering. (it only cost $12.50 then). His way is not about complicated grids but understanding the concepts of depth and perspective. This book also has something you never see which is overlays in color (thin tracing paper sheets) that overlay the line drawing to show the progression of the drawing from start to finished color. I am using this as a textbook for my Architectural Rendering class and reccomend it to everyone.
A helpful book for the beginning architect or draftsman........1999-04-12
This book will help anyone interested in architecture or drafting hone their craft. Mr. Lockard writes and describes how to do most drafting work and puts it in an easy-to-follow manner. His opinions and ideas are valid and up to date. This would be a great help to beginning architecture students.
Average customer rating:
- Only book I've seen that understands both subjects
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Fractal Geometry in Architecture & Design
Carl Bovill
Manufacturer: Birkhäuser Boston
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Binding: Hardcover
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ASIN: 0817637958 |
Book Description
Fractal geometry is the formal study of mathematical shapes that display a progression of never-ending, self-similar, meandering detail from large to small scales. It has the descriptive power to capture, explain, and enhance one's appreciation of and control over complex diversity. Natural shapes and rhythms, such as leaves, tree branching, mountain ridges, flood levels of a river, wave patterns, and nerve impulses, display this cascading behaviour. These fractal concepts are found in many fields, from physics to musical composition.
Architecture and design, concerned with control over rhythm, and with such fractal concepts as the progression of forms from a distant view down to the intimate details, can benefit from the use of this relatively new mathematical tool. Fractal geometry is a rare example of a technology that reaches into the core of design composition, allowing the architect or designer to express a complex understanding of nature.
The exposition of the book is at a level suitable for applied scientists, architects, and students with a modest background in mathematics. It is well illustrated and has numerous examples from which to learn the underlying concepts and their applications. Thus the book is addressed to a wide audience with a multiplicity of interests in new compositional ideas.
Customer Reviews:
Only book I've seen that understands both subjects.......1999-01-08
Bovill does a good job of explaining the principles of fractal geometry in layman's terms for those not already familiar with them. I was particularly impressed with his understanding of how fractal dimension varies with scale and which scales are important for architecture. However, I was disappointed that there were no references made to structural properties of fractals and how they might have excellent strength to weight ratios for a wide range of scales. Everything was taken from a design perspective concerned with texture.
Average customer rating:
- Great Reference for "designer's block".
- Incredible detail for artists and illustrators
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Pictorial Encyclopedia of Historic Architectural Plans, Details and Elements: With 1880 Line Drawings of Arches, Domes, Doorways, Facades, Gables, Windows, etc. (Dover Books on Architecture)
John Theodore Haneman
Manufacturer: Dover Publications
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The Architectural Plates from the "Encyclopedie" (Dover Pictorial Archive)
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Victorian Domestic Architectural Plans and Details: 734 Scale Drawings of Doorways, Windows, Staircases, Moldings, Cornices, and Other Elements
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Heck's Pictorial Archive of Art and Architecture (Dover Pictorial Archive Series)
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Roberts' Illustrated Millwork Catalog: A Sourcebook of Turn-of-the-Century Architectural Woodwork (Dover Books on Architecture)
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1100 Decorative French Ironwork Designs (Dover Pictorial Archive Series)
ASIN: 0486246051 |
Book Description
Sourcebook of inspiration for architects, designers, others. 1880 line drawings on 70 plates. Bibliography. Captions.
Customer Reviews:
Great Reference for "designer's block"........2006-01-14
I bought this book while still a student in architecure school. After many, many years of professional practice I still regularly pull this book off my shelf when I need a jolt out of "designer's block".
This book is a reference tool and nothing else. It contains many reference sketches from a variety of architectural elements including but not limited to plan form layouts, facade massing elements, door and window surround details.
It is not highly detailed in terms of each and every line and form. It is however highly useful for forms and massing. Just what the designer sometimes needs to generate an idea when design ideas don't seem to be forthcoming easily. I have actually used sketches for say a gate and then adapted an idea developed from it to formulate an entry detail unrelated to a gate. Often the finished idea does not look like the sketch found in this book from which it originated...but then that is the idea of a designer...sometimes all we need is as concept or spark of an idea to let our imiginations develop it into the final product.
Of all the architectual books I own (and there are many) this one has been used by me the most.
Incredible detail for artists and illustrators.......2004-11-29
As an artist, long have I looked for books helping to graphically show in simple detail elements of architecture. Perfect for medieval to pre-industrial societies, designing literally everything structural. A must resource for village and city design, if only there were more like this. Less text, tons of graphics, all straight and simple, clean lines, clear and useable well thought out pieces for difficult puzzles.
Book Description
The power of the visual effects exerted by architecture, in our own time and in the past, has been largely neglected in recent discussion, with its focus on practical utility and other economic and social factors. Such an account of the human needs met by architecture remains sadly incomplete unless the expressive visual qualities of buildings are recognized as among their foremost effects.
A fresh approach is overdue--an attempt to analyze these psychological qualities with the principles of visual perception. Such an attempt is made in this new volume by Rudolf Arnheim, who has been known, since the publication of his Art and Visual Perception, as an authority on the psychological interpretation of the visual arts. As he now turns his experienced eye to the visual aspects of buildings, he amplifies his theories with new features specific to the medium of the architect. Arnheim explores the unexpected perceptual consequences of architecture with his customary clarity and precision. Of particular interest is his thorough analysis of order and disorder in design, the nature of visual symbolism, and the relations between practical function and perceptual expression.
Arheim's ability to deal with theoretical principles in a concrete and easily accessible way assures him the attention of the general reader whose concern with the arts leads to the aesthetic and psychological aspects of the broader environment. At the same time, Arnheim's strikingly original approach will stimulate professionals and students concerned with the theory and practice of modern and historical architecture.
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