The Bloomsbury Global Encyclopedia of Women in Architecture 1960-2020 fills a void in architectural history, giving students, scholars and professional architects an authoritative reference to women architects and their work, and to key terms for gender and women’s rights in architecture. With over 1,000 entries and 600 images across two volumes, the encyclopedia covers a key period in women's history from 1960 to 2020 – from when women entered architecture schools in growing numbers, to the present day. Women now comprise half of all architecture students in many countries but students and scholars lack authoritative, globally connected histories of female forebears peers, and mentors. This encyclopedia introduces them to the notable and overlooked women of the global built world, unearthing hidden histories and founding a new field of historical scholarship. Within a geographical and historical framework, key architects from over 135 countries are included in detailed biographical entries. Coverage includes an expanded field of women designers from related fields (urbanism, landscape, and interiors) plus an enlarged sphere of architectural practice including influential scholars, writers, and activists as well as key terms, themes, books, conferences and exhibitions.
Architectures of Ageing in Place provides curated critical perspectives, from a practice-based research point of view, of buildings that are purpose built and/or refurbished to accommodate housing and care needs of older people ageing in place in high rise/medium rise integrated communities. This book identifies design innovations, in line with policy innovations, that have been made across private and public sectors to accommodate wellbeing and quality of life of older people living in integrated communities, which continue to foster intergenerational dialogue and exchange, and advance social citizenship. Case studies from a diverse range of geographies are examined including Portugal, Singapore, India, New Zealand, UK, Sweden, Belgium and the US. Chapters are grounded in evidence-based research including substantial primary data and post-occupancy evaluation, specifically the evaluation of architecture’s ‘social performance’. Projects highlight high-rise / medium-rise as an emerging and successful typology in accommodating residential and care needs of older people. Taking a broad, interdisciplinary approach, this book will be a helpful reference not only for architects, designers and urban planners but also for students and practitioners in health and social care, gerontology/ageing, and medical sociology.
Through the theoretical lenses of dress studies, gender, science, and visual studies, this volume analyses the impact John Ruskin has had on architecture throughout the nineteenth and twentieth centuries. It explores Ruskin’s different ideologies, such as the adorned wall veil, which were instrumental in bringing focus to structures that were previously unconsidered. John Ruskin and the Fabric of Architecture examines the ways in which Ruskin perceives the evolution of architecture through the idea that architecture is surface. The creative act in architecture, analogous to the divine act of creation, was viewed as a form of dressing. By adding highly aesthetic features to designs, taking inspiration from the 'veil' of women’s clothing, Ruskin believed that buildings could be transformed into meaningful architecture. This volume discusses the importance of Ruskin’s surface theory and the myth of feminine architecture, and additionally presents a competing theory of textile analogy in architecture based on morality and gender to counter Gottfried Semper’s historicist perspective. This book would be beneficial to students and academics of architectural history and theory, gender studies and visual studies who wish to delve into Ruskin’s theories and to further understand his capacity for thinking beyond the historical methods. The book will also be of interest to architectural practitioners, particularly Ruskin’s theory of surface architecture.
Surface in architecture has had a deeper and a more pervasive presence in the practice and theory of the discipline than is commonly supposed. Orientations to the surface emerge, collapse, and reappear, sustaining it as a legitimate theoretical and artefactual entity, despite the (twentieth-century) disciplinary definition of architecture as space, structure, and function. Even though surface is defended for its pervasiveness (Kurt Forster), its function as a theoretical motif with generative power (Andrew Benjamin), and in constituting the operative principles of modern architecture as a visual phenomenon (Mark Wigley), it occupies the interstice, or the space of the unconscious within architectural discourse, from where it defends its legitimacy as architecturally valuable or ‘functional,’ as opposed to merely visually pleasurable. Surface and Deep Histories positions surface within the scholarship of critical theory and design-based approaches, and invites academics and designers, and art and architectural historians based in Australia to consider the uses, figurations, scales, and typologies of surfaces.
The collection choreographs contributions that focus on a variety of topics, such as montage and construction of colonial modernity and visual culture (Molly Duggins); wallpaper, rational space, and femininity (Anna Daly); the inter-constituted nature of bodies, clothes, and cities (Stella North); the reconstruction of the urban surface through a true integration of information and topology (M Hank Haeusler); James Fergusson’s theory of ornament (Peter Kohane); traditional and new verandahs in Australia (Chris Brisbin); contradictory effects of surface in Green architecture debates (Flavia Marcello and Ian Woodcock); and the thickness of thin curtain walls in contemporary Australian architecture (Anuradha Chatterjee). Surface and Deep Histories shows that surface is not thin — spatially or conceptually. It demonstrates that the practice of surface is simultaneously superficial and pervasive, symbol and space, meaningful and functional, static and transitory, and object and envelope.
Built, Unbuilt and Imagined Sydney is a collection of essays based on built and unbuilt works (residential, commercial, interiors, and so on) of interest in Sydney, inclusive of public art, object or furniture design, key invited or public lectures, studios, current projects in making, competitions, collaborations, exhibitions, installations, and outreach work. The focus is on the innovative and the original not the ordinary and the functional. The purpose of this is to reveal the expanded field of architecture, and that the practice of architecture exceeds the work legally defensible under the title of the architect. The emphasis is placed on practice as an intellectual activity and on contemporary practice of architecture as the meaningful exercise of social, political, and critical knowledge, skills, and mindset in an urban, spatial, and tectonic condition. The book reveals that all or most architects either adopt as their own or have an interest in an(other) field, such as visual art, urbanism and landscape, virtual reality and three dimensional imaging, installation art and lighting design, and so on. The book aims to reveal therefore the multidisciplinary, urban orientations, and fluid forms of practice. The essay format as opposed to a monograph or historical survey on a place or period in Australian architecture is deliberate. The aim is to capture not the formal outcome of the architectural practice but to capture the vitality and intensity of architectural thought behind it all. The collection will pick out the creative DNA of the city, as it represents a snapshot of the intensity that marks the critical and creative culture and enterprise informing the architectural scene in Sydney.
