The first 'Architecture Speaks!' Lecture took place in January 2016. The series, initiated by Associate Professor Jenni Reuter, has been hosted jointly by the Museum of Finnish Architecture and Aalto University.0The present publication is a collation of reportages on the first 14 lectures. In their reportages, the student authors write about how the architects inspire them to reflect on their own ambitions, fears and expectations for the future of architecture and the profession. 0The invited speakers have been divided into three groups: Activists, Symbolists and Time Curators.
When the A&M College of Texas opened its doors in 1876, its early buildings followed a Victorian architectural style. Classical architecture came to the campus with the Academic Building, after the 1912 fire that destroyed Old Main. Subsequent buildings generally followed this neoclassical path, but the growth of the campus in the Depression era saw the addition of an extraordinary group of buildings, sited in accordance with a master plan developed by college architect F. E. Giesecke and designed by S. C. P. Vosper, each of whom also held faculty positions in the first architecture program at a state college in Texas. The buildings designed by Vosper are arguably the finest buildings on the campus, uniquely expressive of the agricultural and mechanical origins of the university; they delight the senses with color, sculpture, and wit. Nancy T. McCoy and David G. Woodcock, distinguished preservation architects and scholars, review the history of Texas A&M campus architecture and provide in-depth coverage of Vosper and his legacy. Illustrated by the sumptuous photography of Carolyn Brown, Architecture That Speaks concludes with observations on recent approaches toward the reuse and rehabilitation of campus heritage architecture and a view to the future, as plans evolve for further development of the campus that maintains a respect for both strategic vision and historical heritage.
When the A&M College of Texas opened its doors in 1876, its early buildings followed a Victorian architectural style. Classical architecture came to the campus with the Academic Building, after the 1912 fire that destroyed Old Main. Subsequent buildings generally followed this neoclassical path, but the growth of the campus in the Depression era saw the addition of an extraordinary group of buildings, sited in accordance with a master plan developed by college architect F. E. Giesecke and designed by S. C. P. Vosper, each of whom also held faculty positions in the first architecture program at a state college in Texas. The buildings designed by Vosper are arguably the finest buildings on the campus, uniquely expressive of the agricultural and mechanical origins of the university; they delight the senses with color, sculpture, and wit. Nancy T. McCoy and David G. Woodcock, distinguished preservation architects and scholars, review the history of Texas A&M campus architecture and provide in-depth coverage of Vosper and his legacy. Illustrated by the sumptuous photography of Carolyn Brown, Architecture That Speaks concludes with observations on recent approaches toward the reuse and rehabilitation of campus heritage architecture and a view to the future, as plans evolve for further development of the campus that maintains a respect for both strategic vision and historical heritage.
How we experience space by listening: the concepts of aural architecture, with examples ranging from Gothic cathedrals to surround sound home theater. We experience spaces not only by seeing but also by listening. We can navigate a room in the dark, and "hear" the emptiness of a house without furniture. Our experience of music in a concert hall depends on whether we sit in the front row or under the balcony. The unique acoustics of religious spaces acquire symbolic meaning. Social relationships are strongly influenced by the way that space changes sound. In Spaces Speak, Are You Listening?, Barry Blesser and Linda-Ruth Salter examine auditory spatial awareness: experiencing space by attentive listening. Every environment has an aural architecture.The audible attributes of physical space have always contributed to the fabric of human culture, as demonstrated by prehistoric multimedia cave paintings, classical Greek open-air theaters, Gothic cathedrals, acoustic geography of French villages, modern music reproduction, and virtual spaces in home theaters. Auditory spatial awareness is a prism that reveals a culture's attitudes toward hearing and space. Some listeners can learn to "see" objects with their ears, but even without training, we can all hear spatial geometry such as an open door or low ceiling. Integrating contributions from a wide range of disciplines—including architecture, music, acoustics, evolution, anthropology, cognitive psychology, audio engineering, and many others—Spaces Speak, Are You Listening? establishes the concepts and language of aural architecture. These concepts provide an interdisciplinary guide for anyone interested in gaining a better understanding of how space enhances our well-being. Aural architecture is not the exclusive domain of specialists. Accidentally or intentionally, we all function as aural architects.
This unique book discusses programming, design and building evaluation providing a ‘joined up’ approach to building design. By linking the functional and architectonic qualities of a building, the authors show the practical implications of the utility value of buildings. Starting by looking at how the relationship between form and function has been dealt with by different approaches to architecture from a historical perspective, it goes on to discuss how the desired functional quality and utility value of a building can be expressed in a brief and given a physical form by the architect. Finally, it advises on how to carry out post-occupancy evaluation and provides the architect with methods and techniques for testing whether the intended utility value of a building has been achieved.
Architecturally Speaking is an international collection of essays by leading architects, artists and theorists of locality and space. Together these essays build to reflect not only what it might mean to 'speak architecturally' but also the innate relations between the artist's and architect's work, how they are distinct, and in inspiring ways, how they might relate through questions of built form. This book will appeal to urbanists, geographers, artists, architects, cultural historians and theorists.
"The process of investigation, analysis, and testing makes Architecture Research Office (ARO) as much a laboratory as a design firm. For Stephen Cassell, Adam Yarinsky, and their team, the starting point of each commission is not the development of an abstract "idea" for the project, but an intensive, hands-on occupation with a project's conditions, with its physical, economic, and social contexts. This practical approach to making architecture, to shrinking the distance between thinking and building, is much evident in their work, which manages to be simultaneously thoughtful and sensual." "The seven projects featured in this, the first monograph on the work of this firm, range from self-directed research (ARO's paper wall project), to private living spaces (the SoHo Loft), to commercial interiors (the Qiora Store and Spa), to the popular U.S. Armed Services Recruiting Station in Times Square, to the stunning Colorado House in Telluride. All of these projects challenge design conventions, while delighting the senses with their unusual materials, careful detailing, and unexpected spatial discoveries." "With essays by Stan Allen, Philip Nobel, Guy Nordenson, and Sarah Whiting."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
