Boat, airplane, and automobile design tools and software are now applied to architectural projects using robotics and high-strength, low-weight, carbon fiber composites. Greg Lynn's studio and Mark Foster Gage's seminar at Yale with participants Frank Gehry, Lise Ann Couture, Chris Bangle, and Greg Foley, among others, generated a lively dialogue invigorating the future of design. 180 black-and-white illustrations
The Cybermohalla project takes on the meaning of the Hindi word mohalla (neighborhood) in its sense of alleys and corners, relatedness and concreteness, as a means for talking about one?s ?place? in the city.
Deborah Berke monograph Tracy Myers
Yale University Press
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She has designed banks and hotels, college master plans and retail spaces, galleries, residences, and studios for leading artists. In more than twenty-five years of practice, Deborah Berke has produced an extraordinary body of work that is grounded in the conviction that architecture is not an end in itself, but a setting that is enhanced by its use.
Written by an architect who has been designing and building affordable housing for thirty years, this well-illustrated book is both a call to create well-designed places for the homeless and a review of innovative and successful building designs that now serve diverse communities across the United States. Sam Davis argues for safe and functional architectural designs and programs that symbolically reintegrate the homeless into society in buildings that offer beauty, security, and hope to those most in need.
Architectural Graphic Standards by Charles George Ramsey and Harold Reeve Sleeper, first published in 1932 (and now in its eleventh edition), is a definitive technical reference for architects--the one book that every architect needs to own.
Across the design disciplines, drawing by hand has largely become a lost art. With digital tools at their disposal, the majority of designers create spaces while sitting at their computer screens. Attitudes are changing, however: spurred by creative boredom and by a sense of being disconnected from their briefs, today's designers seek a greater and more immediate connection with their projects. There is no better way to stimulate the imagination than by learning to draw what one sees and imparting spatial ideas by hand.
