ARCHITECTUREDESIGN&

2010

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Highlights for the year:

• The Architecture of Emergence: The Evolution of Form in Nature and Civilisation

• I Wish I Worked There! A Look Inside the Most Creative Spaces in Business

• Architecture and Beauty: Conversations with Architects about a Troubled Relationship

• Autopoiesis of Architecture: A Conceptual Framework for Architecture

• Exuberance: New Virtuosity in Contemporary Architecture

Architecture and Design 2010Welcome to Wiley’s new Architecture and Design catalogue. This year’s catalogue offers our characteristically broad range of books – everything from professional guidance to creative inspiration.

This year we’re also celebrating the 80th birthday of one of our leading brands – Architectural Design (AD). Founded in 1930, AD remains an influential and prestigious publication, and this year’s issues continue the tradition of being at the cutting edge of architectural thought and design.

The Architecture Team

Contact us:For sales and marketing queries please contact Lorna Mein +44 (0) 1243 770624 / lmein@wiley.com

For publicity queries please contact Caroline Baines +44 (0) 1243 770674 / cbaines@wiley.com

If you would like to discuss rights purchase for our titles please contact Julie Attrill +44 (0) 1243 770517 / jattrill@wiley.com

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Key Titles 4

Architectural Design (AD) 14

AD Primers 20

Sustainable Design 22

Drawing, Drafting and Rendering 30

Academic Books 34

Professional Practice 36

Graphic Standards Field Guide 42

Building Type Basics 43

Interior Design 44

Graphic Design 46

Contents

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A Look Inside the Most Creative Spaces in Business Kursty Groves with Will Knight, photography by Edward Denison

978-0-470-71383-9 Hardback 256pp$90.00 Feb 10

Revealing some of the world’s most inspiring workplaces, I

Wish I Worked There! investigates the way 20 famous brands

have put innovation at the heart of their culture. Photographs

and illustrations detail the way in which companies

accommodate creative activity through spaces that stimulate,

enable reflection, promote collaboration and encourage

play. Easy-to-adopt principles assist the design, creation or

selection of spaces that support creative endeavour. Never

before has a title looked specifically at how the working

environment fosters the flow of ideas from both practical and

emotional perspectives – with business results.

• Each case study is extensively illustrated with new

photography by Edward Denison and diagrams by Will

Knight that detail activity

• Behind-the-scenes interviews reveal insights that show

what makes a space really work, while business metrics

evidence the birth of ideas, breakthroughs and successes

• Includes foreword by Ivy Ross, Executive Vice President of

marketing for The Gap Brand at Gap, Inc

I Wish I Worked There!

About the authors:

Kursty Groves is a design and innovation consultant,

presenter and co-founder of Headspace, a consultancy

specialising in creative spaces for business

Will Knight is a freelance designer and illustrator

Featured companies:

Aardman Animations, Ltd • Bloomberg LLC • DreamWorks

Animation • Dyson • Electronic Arts • Google Inc • Hasbro

• Innocent Drinks • Johnson & Johnson • The LEGO Group

• Nike Inc • Oakley • Philips Design • Procter & Gamble •

Sony Design • Sony Music • T-Mobile • Urban Outfitters •

Virgin • Walt Disney Imagineering

107INNOCENT DRINKS

Contribution is also elicited from consumers. Innocent ‘drinkers’ have an open invitation to visit Fruit Towers:the warm, friendly and approachable internal nature at Innocent is applied to external friends too. With FruitTowers located ‘off the beaten track, you know the people who make the effort to come and visit do care,’says Dan Germain. This inclusive approach encourages customers to provide feedback and ideas aroundInnocent’s products, all of which are prominently displayed.

INFORMAL AND INEXPENSIVE

Nothing in the Innocent offices costs much; the majority of the environment budget is spent on the basic fabricof the building and the focus is on keeping things simple, natural, open and light. Everything else is informal andinexpensive; ‘not swish, much to the frustration of architects who saw this space and thought, “Fabulous, let’sreally go to town with this,’’’ Jenny Wilson recalls.

This attitude is reminiscent of the original entrepreneurial spirit that continues to thrive and encourages asense of resourcefulness. It gets people thinking about how they can create a fun environment in new anddifferent ways, rather than heading straight to the office equipment store, where everything is uniform andexpensive. The location of the business reflects the importance of keeping things practical and inexpensive. Itis not located in an area of high property prices, and doesn’t compromise on the amount and quality of space.‘Ours is the ugliest building in the world from the outside,’ remarks Germain, ‘but inside it’s perfect – we’vebeen able to grow and spread.’

106 I WISH I WORKED THERE!

OPPOSITE AND BELOW LEFT TheDevelopment Kitchen is where newsmoothies are invented. Made visiblebehind glass and located in the centre ofFruit Towers, people are encouraged tocontribute their ideas for new flavours.

BELOW Innocent ‘drinkers’ receive anopen invitation to visit Fruit Towers, andthe evidence of their passion for thebrand and product is proudly displayed.

109INNOCENT DRINKS108 I WISH I WORKED THERE!

CHEEKY LITTLE TOUCHES

A distinct aspect of Innocent’s brand is its tongue- in- cheek sense of humour and no- nonsense approach to business that has not only helped to create a unique product inthe marketplace, but also supports a creative culture where employees are free to havefun and share ideas, no matter how crazy they may seem. ‘We add little touches to ourproducts and our packaging to show drinkers there’s a human being behind them,’ saysGermain. Refreshing, natural and straight- talking, with nice, cheeky little surprises. As aconsumer, that’s what you experience with the Innocent product and brand. This isreflected so well in the physical environment, through some of the fun choices for thematerials and details, the use of fun language in communications, and the continuouscontribution from the people who work at Fruit Towers to keep things ‘Innocent’.

TOP The human tone of language employed by Innocent on itspackaging and external communications is reflected internally. Babypictures of employees surround Innocent values.

ABOVE ‘The Big Knit’: a portion of profits from every drink sold with a hand- knitted smoothie hat is donated to Age Concern to support olderpeople in the winter months.

ABOVE Innocent’s main space and the ‘hub’ of the building:A. Shed- like rooms provide private meeting areas that are visuallyconnected to the main space with glass doors and windows.B. Diner- style booths allow for impromptu or casual meetings.C. Skylights throughout the buildings provide ample natural light.D. A large drop- down screen for company meetings or watchingbig events.E. Potted trees are dotted throughout the space.F. A red telephone box doubles up as an Internet station forguests and a quiet place for private calls.G. The mezzanine level provides additional desk space withoutcompromising the open- plan feel.H. The large, accessible family- style kitchen at the heart of thebuilding is always alive with conversation.

A B

C

DE

F

G

H

98 I WISH I WORKED THERE!

INNOCENT Drinks is a UK- based fruit smoothie company, founded in 1999

by three college friends, Adam Balon, Richard Reed and Jon Wright. These

Cambridge graduates were only a few years out of college, working for other

firms and with no previous experience of running their own company. Their

business idea was conceived on a weekend snowboarding trip, based on their

perception that most people find it difficult to get their daily intake of vitamins

and minerals from natural ingredients. The trio set out to create honest

drinks with fresh fruit and ‘no nasties’ and spent their evenings and weekends

developing a plan and product, before ‘test marketing’ with £500 worth of

fruit. Innocent now employs around 240 people, with offices in London, Paris,

Hamburg, Copenhagen, Dublin, Stockholm and Salzburg.

Did you know ... ?... that Fruit Towers,Innocent’s head office,actually comprises six single- storey sheds that

have been knockedtogether on an industrial

estate in West London?

ABOVE Innocent smoothies are made withfresh fruit and ‘no nasties’.

OPPOSITE Innocent enjoys a relaxed yetbuzzy atmosphere. Picnic benches andAstroTurf flooring encourage employees tokick off their shoes.

INNOCENT DRINKSFRUIT TOWERS, SHEPHERD’S BUSH, LONDON, UKDESIGN: IN- HOUSE DESIGN TEAM, 2000MEZZANINE AND FINAL EXTENSION: IN- HOUSE TEAM WITH HELP FROM JUMP STUDIOS, 2007

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The Evolution of Form in Nature and Civilisation Michael Weinstock

978-0-470-06632-4 Hardback 280pp $210.00 Feb 10

978-0-470-06633-1 Paperback $61.00

This scholarly and radical book expands the conventional

worldview by placing human development alongside

ecological development: the history of cultural evolution and

the production of cities are set in the context of processes

and forms of the natural world. The emergence of the human

species and the evolution of culture are shown to be closely

coupled to the changes in climate and ecology, while it is

described how humans have extensively modified the surface

of the earth, the ecological systems that exist upon it, and

the climate.

• The first half of the book is focused on the complex

systems of the physical world – the forms and processes

of the climate, the land surface of the earth, the emergence

and evolution of all living species and of genetics, followed

by the dynamics of individual and collective metabolisms

from which intelligence, social and spatial orders emerge.

• The second half of the book is focused on the evolution

of human culture in relation to climate and ecology and

the episodic collapse and reorganisation of cultural and

ecological systems.

The Architecture of Emergence:

• Drawing from the life sciences, anthropology, archaeology

and the evolution of human culture, The Architecture of

Emergence is as expansive in its thinking as its reach.

Michael Weinstock is an architect and a distinguished

academic. He now teaches at the Architectural Association,

and has published, taught and lectured across the world for

many years.

13NATURE AND CIVILISATION

1.2 Eroded MountainThe morphology of the surface ofthe earth emerges from theinteracting processes of the molteninterior and the exposure of thesurface to the continuousprocesses of erosion. Theseprocesses are produced by theclimate, and changes to theclimate change the behaviour,duration and force of each process.Erosion has worn down the entiremountain, exposing the layeredrock strata surrounding theremnant core.

The understanding that the earth is very old, that it too has a history of many

changes, and that the forms of living creatures were different in the past because

of those changes, began to be developed in the 18th century. The recognition

that changes to the form of organisms, and that the environment plays some part

in that change, came in the same century. The first systematic examination of

fossil evidence, right at the beginning of the 19th century by the French naturalist

Georges Cuvier, contains methodical and detailed studies of the shapes of fossil

mammoth bones found in Europe and Siberia that demonstrated their differences

from living elephant species.4 This comparative morphological study of vertebrate

palaeontology established that there is a common skeletal plan for all vertebrate

010-041-WE-Chap1 6/1/10 17:29 Page 13

10 THE ARCHITECTURE OF EMERGENCE

1.1 Boiling WaterThe rising bubbles of steam in boiling water exhibit some of thecharacteristics of emergence – a large number of simplecomponents, in this case water molecules, and heat energy fromthe environment. It is possible to predict exactly when pure waterwill boil (at 100º Celsius at the standard atmospheric pressure of101325 pascals) but it is not possible to predict the position orform of any individual bubble of steam.

010-041-WE-Chap1 6/1/10 17:29 Page 10

11NATURE AND CIVILISATION

1 Nature and CivilisationHumans and all other living beings emerge from, and exist within, thedynamic processes and phenomena of the natural world, and they havehad and continue to have a profound effect upon it. All forms of natureand all forms of civilisation have ‘architecture’, an arrangement of materialin space and over time that determines their shape, size, behaviour andduration, and how they come into being. Energy, information and materialflow through all the forms of the world, and human forms and culture havecoevolved and developed within those flows.

We are accustomed to think of ‘nature’1 as all that is wild and untouched,

landscapes of forests, grasslands, shorelines and seas, separate from, and

unsullied by, the activities of mankind. In this enduring image the world turns,

the seasons come and go, and life is abundant. Man is different, set apart from

the wild, with a life that is ordered by culture and technology. This inherited

image is ancient, a cultural legacy that derives from creation myths and religious

concepts of paradise. Paradise was conceived as a walled orchard garden or an

enclosed hunting park, an enclosure of wild nature, but protected from the

worst dangers of the wild. Nature, created by God, was innocent, beautiful and

divine, and sin entered the world only through human corruption. That concept

persists today in the distinction that is commonly made between the purity of

virgin nature and the depredations of technology. An alternative but equally

persistent concept is that mankind was created for the perfection of nature; and

that the natural world is there for the benefit of man, and in dominating the

natural world so it is sanctified.

The understanding that human beings, together with their artefacts, are part of

nature, has a much shorter history of only 400 years or so. The construction of

a systematic study of a ‘natural history’ was first proposed by Francis Bacon in

1620, and is one of the earliest projects of science. His proposed study of nature

included ‘things artificial’, the works of mankind as a manipulation of nature.

‘Natural History’ should be split into three interrelated domains; the study of

ordinary or usual nature, of deviant nature, and of nature manipulated by man.

Nature produces the ‘history of generations’ or species that develop in the

ordinary course, or nature is forced from the ordinary course by the perversity of

matter and produces monsters, or nature is constrained and moulded by

mankind to produce the artificial. Furthermore, the three regimes were not to be

010-041-WE-Chap1 6/1/10 17:29 Page 11

the land, the biosphere and the atmosphere are traced; and the processes that

produce the forms of the atmosphere are presented. The global climate is the

metasystem, a system of systems, with an intricate choreography of forms and

behaviour that modulates the exchange of energy and material of all other

systems, and in turn is affected by their processes. The geomorphic processes

from which the forms of the land emerge are examined in Chapter 3. The

processes of weathering, erosion and deposition are produced by the climate,

and variations and changes to the climate change the behaviour, duration and

force of each process. In turn, geomorphic processes also contribute to the

generation of feedbacks to the climate metasystem through positive and

negative feedbacks including changes in the reflectivity of surfaces, the

production of ‘greenhouse’ gases that change the chemical composition of the

atmosphere, and the aerosols from desiccated soils and deserts. Chapter 4

explores the emergence of living forms from two strongly coupled processes,

operating over maximally differentiated time spans; the rapid process of

embryological development from a single cell to an adult form, and the long

slow process of the evolution of diverse species of forms over extended time.

38 THE ARCHITECTURE OF EMERGENCE

1.11 Urbanisation of the WorldThe world at night indicates thedensity of urban concentrations,and changes in illuminationfrom 1993 to 2003. The lightsare colour-coded. Red lightsappeared during that 10 years.Orange and yellow areas areregions of high and low intensitylighting respectively thatincreased in brightness over the10 years. Grey areas areunchanged. Pale blue and darkblue areas are of low and highintensity lighting that decreasedin brightness. Very dark blueareas present in 1993 haddisappeared by 2003. Theabundance of red and yellow onthe map indicates the pace ofrecent urbanisation and suggeststhe overall pattern of highenergy flow across the world.

010-041-WE-Chap1 6/1/10 17:29 Page 38

The evolution of the species is constrained by the dynamics of information

passing from one generation to the next, the relations of living forms to other

living forms, to differing climatic regimes and to the topography of the surface

of the earth. In turn, living forms also affect the processes of the atmosphere

and oceans and the geomorphic systems of the surface of the earth. Chapter 5

examines the dynamics of plant and animal metabolisms and their relations to

the morphology and scale of living forms. The relationships between living

organisms and their environment are analysed in terms of the vectors of

information, energy and material flows in populations, habitats and ecological

systems. An examination is made of how intelligence, social and spatial

organisation, and material artefacts emerge from the collective extension of

metabolism, reinforced and developed by positive feedbacks acting to modify

the regime of natural selection. Collectives continually modify and regulate their

exterior environment and over time change their own ecological niche, and so

enhance their ‘fitness’ in that environment.

Chapter 6 traces the coevolution of the anatomically modern human form and

material culture, and the migration and flow of humans out of Africa to cover the

surface of the earth. An account is presented of the emergence of anatomical

and cultural forms of humans in relation to changes in climate and ecological

systems, and to the subsequent modifications of local and regional ecologies by

human occupation. The development of language, art and calendars, and their

integration into complex informational systems for the transmission of

ecologically contextualised knowledge over time is examined. The spatial

patterning of territories is analysed in terms of the vectors of energy and material

flows, and the emergence and proliferation of pit dwellings, settlements and

mobility strategies is unfolded. In Chapter 7 an account is presented of the

emergence of the dynamic forms of cities and systems of cities, together with an

outline of their relations to culture and ecology. The irregular development of the

forms of cities and systems of cities, their constant rebuilding over time, and their

expansion, decay and collapse is examined in relation to their informational

complexity, population, climate and ecology. Chapter 8 traces the evolutionary

development of complexity in the flow of information and energy through the

extended metabolisms of settlements, cities and systems of cities, and the global

system of the contemporary world. The consequences of the increasing

acceleration over time of human ‘metabolic’ activities on the intricate dynamics

of ecological systems are related to the evolution of complexity, and to the

episodic collapse and reorganisation of cultural and ecological systems.

39NATURE AND CIVILISATION

010-041-WE-Chap1 6/1/10 17:29 Page 39

20 THE ARCHITECTURE OF EMERGENCE

organisms survive the fierce competition and have greater breeding success. Their

offspring in turn have even greater reproductive success, and so on down the

generations. The ‘higher animals’ or most complex biological forms developed

from very simple beginnings, and natural selection was the means by which each

species became more perfectly fitted to its environment. ‘There is grandeur in this

view of life, with its several powers, having been originally breathed into a few

forms or into one; and that, whilst this planet has gone cycling on according to

the fixed law of gravity, from so simple a beginning endless forms most beautiful

and most wonderful have been, and are being, evolved.’9

Living organisms can be regarded as systems, and these systems acquire their

complex forms and patterns of behaviour through the interactions, in space

and over time, of their components. The dynamics of the development of

biological forms, the accounts of growth and form, of morphogenesis, have

become much more central to evolutionary theory than in Darwin’s thesis.

Darwin’s arguments had an alignment with the then current theory of

competitive struggle in capitalism10 and the concepts of mechanisms in

industry. Theories of morphogenesis, the creation of forms that evolve in space

and over time, are now inextricably entwined with the mathematics of

information theory, with physics and chemistry, and with organisation and

geometry. The alignment with concepts and technologies of economics and

industry remains consistent today.

The convergent lines of thought between biology and mathematics were

initiated early in the 20th century, particularly by the work of Alfred North

Whitehead and Wentworth D’Arcy Thompson. D’Arcy Thompson, zoologist

and mathematician, regarded the material forms of living things as a diagram

of the forces that have acted on them.11 Living things are made of physical

material and are subject to the same forces as non-living material, and so

physics and geometry are as significant as natural selection. His observations of

the homologies between skulls, pelvises and the body plans of different species

suggested a new mode of analysis, a mathematisation of biology.

Morphological measurements are specific to species, and at times to individuals

within a species, and so are various, but there are underlying relations that do

not vary – the ‘homologies’. Homology has two distinct but related meanings:

to biologists it means organs or body parts that have the same evolutionary

origin but quite different functions, and to mathematicians it is a classification

of geometric figures according to their properties. Form can be described by

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21NATURE AND CIVILISATION

mathematical data, by mapping points in three-dimensional coordinate space,

by dimensions, angles and curvature radii. D’Arcy Thompson’s comparison of

related forms within a genus proceeds by recognising in one form a

deformation of another. Forms are related if one can be deformed into another

by Cartesian transformation of coordinates. Comparative analysis reveals what

is missing in any singular description of a form, no matter how precise, and that

is the morphogenetic tendency between forms. In this argument genetic

information does not need to fully specify the geometry of a form, as the

natural forces of the environment and mathematical principles will determine

the specific geometry during growth and development.

1.5 MutationThe head of a mutant fruit flyDrosophila melanogaster. Thismutant has two small perfectlyformed eyes in place of antennae,seen here between the large redcompound eyes. The mutation isproduced by modifying theexpression of a single gene duringthe early development of the flyembryo.

010-041-WE-Chap1 6/1/10 17:29 Page 21

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Conversations with Architects about a Troubled Relationship Yael Reisner with Fleur Watson

978-0-470-99784-0 Hardback 264pp $144.00 Apr 10

What makes the world’s top architects tick?

Through discussions with five leading architects, including

Frank Gehry, Zaha Hadid, Greg Lynn and Wolf Prix, unrivalled

access is provided to the formative experiences, creative

processes and motivations of some of the most influential

design figures today. Through personal interviews with Yael

Reisner, written up by Fleur Watson, the authors capture the

voices, thoughts and personalities of their subjects. So rare

and intimate are the insights that it is often akin to being a

party to the very conversations themselves. The articles bring

us up close to these creative minds with such widely differing

positions and opinions, each expressing a very different point

of view on aesthetics: whether they think beauty is integral

or non-essential to architecture. Fascinating in what it tells us

about individual architects and their work, most significantly

Architecture and Beauty raises poignant issues regarding

the place of beauty, aesthetics and self-expression within

the psychology and the design process of the architectural

avant-garde.

Architecture and Beauty:

Yael Reisner has a Diploma in Architecture from the

Architectural Association in London. Born in Tel Aviv, she now

lives in London where she has her own practice and teaches

internationally.

Fleur Watson is a design journalist, curator and former

Editor-in-Chief of the Australian architecture journal

MONUMENT.

Will Alsop

PURSUIT OF PLEASURE‘ARCHITECTURE IS ART!’, exclaims British architect Will Alsop. ‘It is the most public of

arts.’ Educated at the renowned Architectural Association (AA) in London during the

late 1960s and imbued with the school’s commitment to creative process, Alsop is

disparaging of the notion of ‘objectivism’ within architecture. As he suggests: ‘The only

thing we have is our individuality. That’s what we have to give to the world.’1

Alsop also believes a fundamental aspect of the architect’s role is to improve the

quality of people’s lives. He explains that the content of his work is embedded in a

process of speculation that aspires to create spaces of delight and beauty for the ‘man

on the street’. To this end, he actively engages the community in the design process

for his public projects, inviting them to share their thoughts and desires for the kind of

spaces they would like to inhabit.

At the age of 60, Alsop is a jovial, relaxed Englishman who loves his garden and a glass

of good wine, is comfortable in his own skin and open to discussing a wide range of

topics and ideas. Despite this generosity of spirit, he is also a man with strong

convictions who is prepared to fight arduous battles for the acceptance of his

architecture. He embodies a strong sense of justice and is not afraid to confront his

contemporaries if he feels they are politically conservative and in breech of their

positions of power – such is his passion for a diverse and inspiring architectural culture.

Will Alsop knew from a very young age that he wanted to become an architect. While

still at school, he began working for a local firm and balanced this practical experience

by attending art school to gain inspiration and creative skills, and even considered

painting as an alternative career. ‘I went to art school because I felt I needed

“deprogramming” from my early pragmatic architectural experience and so I could begin

to put myself somewhere else creatively,’ he explains. The experience proved an

extremely positive one and propelled him to apply to study at London’s prestigious

OPPOSITE HÔTEL DU DÉPARTEMENT DES BOUCHES- DU- RHÔNE, MARSEILLES, FRANCE, 1994

Alsop is disparaging of the notion of ‘objectivism’within architecture. He suggests: ‘The only thing wehave is our individuality. That’s what we have to giveto the world ... I think an architect has to have thecourage to go wherever their process seems to begoing rather than trying to pull it back to somethingfamiliar. So I always return to this notion that theunfamiliar is more interesting to me than the familiar. Ifeel happy not knowing quite where a project is going.’

W I L L A L S O P 163

Architectural Association: ‘I only wanted to go to the AA so I never applied for anywhere

else. I began studying there in 1968 and, at that time, it was almost completely

dominated by Archigram members. I’d seen the absurd magazines Archigram produced

which genuinely excited me and it was one of the reasons I wanted to go there – there

was a genuine sense that you could do anything.’

Through the 1960s and 1970s, initially under the direction of John Lloyd and then Alvin

Boyarsky, the AA encouraged students to pursue their individual talents and take time to

pursue a personalised expression through their studies. As Alsop recalls: ‘There was a

genuine feeling that as an architect you could change the way people lived, or more

importantly that you could change the way people thought about how they could live;

that was interesting to me and it still is today.’

After graduating, Alsop went to work for Cedric Price2 – an experience that he remembers

as concurrently bewildering and rewarding: ‘I found Cedric very confusing and it became

clear to me early on that he wasn’t interested in buildings at all. He was much more

engaged in projects that he had invented and so I spent a long time researching such

things as how to provide a truck park with security, facilities for the drivers to have a

decent night’s sleep, and where they could wash and have a good breakfast. But if you

were in the right mood you could make a very beautiful truck park!’ While Alsop

appreciated Price’s ethical approach, he felt he lacked a direct engagement with

designing buildings. Looking to his other great passion of art to fill the void, he began

teaching sculpture after- hours at St Martins College. Eventually, however, it became clear

to Alsop that his desire to build architecture meant he needed to move on: ‘There was a

lot going on in Price’s office at the time, but I became frustrated because although the

work was interesting I knew that, within myself, there was something deeply missing.’

After establishing his own practice in 1981, Alsop discovered that – like many emerging

architects from the UK – it was much easier to gain commissions to build his architecture

abroad, and over time he gained a reputation as an internationally significant architect

for his vibrant and expressive buildings constructed all over the world. Examples include

his first major international commission, Le Grand Bleu, the seat of the regional

government of Bouches- du- Rhône in Marseille (1994); the Cardiff Bay Visitor Centre in

Wales (1990); Peckham Library, London (1999); the Almere Urban Entertainment Centre,

Amsterdam (2004); Alsop Toronto Sales Centre, Toronto (2006); Zhang Jia Bang: Street of

Culture, Shanghai (2006) and the Trubnaya office building in Moscow (2007).

Although Alsop embraces technology, he departs from his ‘High- Tech’ contemporaries3

with his belief that technology ‘helps to get things done’ rather than generating the

ABOVE HÔTEL DU DÉPARTEMENT DES BOUCHES- DU- RHÔNE, MARSEILLES, FRANCE, 1994

Alsop is well known for the large- scale paintings thatinform his work, however he is adamant that they arenot an integral part of his process, claiming instead thatthey influence his work in a more oblique way.‘Painting is a release,’ he explains, ‘I’m actually makingmarks on a piece of paper or piece of canvas in orderto take myself somewhere new. I’m not trying toconfirm anything; I’m trying to open the situation up.’

RIGHT HÔTEL DU DÉPARTEMENT DES BOUCHES- DU- RHÔNE, MARSEILLES, FRANCE, 1994

Alsop studied at the Architectural Association (AA) inLondon through the 1960s and 1970s, initially underthe direction of John Lloyd and then Alvin Boyarsky. TheAA encouraged students to pursue their individualtalents and take time to craft their personalarchitectural expression through their studies. As Alsoprecalls: ‘There was a genuine feeling that as anarchitect you could change the way people lived, ormore importantly that you could change the waypeople thought about how they could live; that wasinteresting to me and it still is today.’

A R C H I T E C T U R E A N D B E A U T Y164 W I L L A L S O P 165

of bad work from the students, but I think that’s great because while they might be

failing, at least they’re trying something new.’

A legacy of being a graduate of the AA lies in the philosophy that architectural design

evolves through free thinking with no need for rules or rigid frameworks. Alsop is also

quick to reject the need to establish an overriding set of ‘rules’ within his architecture,

explaining that ‘the parameters of a project are very ill- defined at the beginning and they

become more established as you work through the process, as you involve more people

in the conversation and, eventually, it develops its own sort of sensibility’. He continues:

‘I think an architect has to have the courage to go with wherever it seems to be going –

rather than trying to put it back to something familiar. So I always return to this notion

that the unfamiliar6 is more interesting to me than the familiar. I feel happy not knowing

quite where a project is heading.’

Art also continues to provide an important framework for Alsop, and the architect is well

known for the large- scale paintings that inform his work. However, he is adamant that

they are not an integral part of his process, instead influencing his work in a more oblique

way. ‘Painting is a release,’ he says, ‘I’m actually making marks on a piece of paper or a

canvas in order to take myself somewhere new. I’m not trying to confirm anything; I’m

trying to open the situation up.’ He suggests that rather than a methodology, his painting

allows him to gain a new perspective and to include other creative influences in his

can see that there is something that could be described as “Alsopesque”. But if I said

“draw me an Alsop building”, you couldn’t really do it. You could draw a building I’ve

done, but you couldn’t draw my next building. I like that because I don’t know what my

next building will be and it continues to challenge me.’5

Alsop’s architecture is colourful with a great diversity of materials and a rich palette of

forms and colour, yet he resists any notion of an underlying conceptual ideology apart

from a desire to do things differently with each new project: ‘Why do architects or artists

want to write a manifesto? I think there’s only one answer to that question – they believe

they are right and they want everyone else to do it the same way. I don’t want to do

that and it is evident in the difference between the way that I teach and the way an

architect like David Chipperfield teaches; if you see the work of his students at Düsseldorf,

there are 30 David Chipperfield clones – it’s like chip shops! That’s not very interesting –

why would you do that as a teacher? At the Technical University in Vienna I receive a lot

BELOW FOURTH GRACE, LIVERPOOL, 2002

Alsop promotes a collaborative design strategy thatremoves the process from a personal vision and placesdesign decisions in the public realm, empowering thearchitect’s role as facilitator. He says: ‘If I want tobroaden the conversation then I actually make morenoise by talking to more people and then bring it backto the studio, look at it and think about what I can dowith that information. So it goes from the very publicto the very personal.’

ABOVE THAMES GATEWAY MASTERPLAN, LONDON, 2003

Referring to his painting for the Thames Gatewaymasterplan project, Alsop states: ‘It’s another form ofsketching, to see things in another way. By simplysaying, “OK, to try and work out what Thames Gatewaycould be, let’s give ourselves 10 days to think about 14square kilometres and each square kilometre should bedifferent”. It’s an absurd thing to set yourself as a task,yet wonderful!’

A R C H I T E C T U R E A N D B E A U T Y170 W I L L A L S O P 171

process, such as his ongoing collaboration with artist Bruce McLean:7 When I’m working

with Bruce on large 3-D paintings such as Malagarba Works,8 we’re not thinking about a

project at all, we’re just working on the painting and that process can feed elements of

the architecture. We might have done something for one reason, but then say to each

other: “See the way that shadow falls? Now that’s interesting”, and then translate that

into the architectural work.’

Alsop gestures to a series of large paintings hanging in his studio as an example of how

his artwork can inform a project – in this case his scheme for the Thames Gateway

masterplan project (2004). He explains: ‘It’s another form of sketching, to see things in

another way. By simply saying, “OK, to try and work out what Thames Gateway could be,

let’s give ourselves 10 days to think about 14 square kilometres and each square

kilometre should be different”. It’s an absurd thing to set yourself as a task, yet

wonderful! And out of it we discovered some things which allowed us to tell a different

story about that part of London.’

From large public projects such as the Thames Gateway or Bradford masterplans to

commissions for small objects such as his tea set for Alessi, Alsop finds little difficulty in

adjusting his process for dramatic changes of scale. ‘To me it’s all the same work. I didn’t

design the table in my studio, but I’d be very happy to design a place to sit because I

think you need the right things to support the act of talking. Conversely, a beautiful spoon

that’s very nice to use isn’t an aid to conversation. You might notice the spoon, but you

don’t have to say anything – it’s there nonetheless and it makes you feel comfortable or

excited or calm. And I think buildings are formed the same way, so it doesn’t matter what

the scale of the project is.’

Although Alsop easily embraces the notion of beauty within his work, he is less

comfortable with the proposition that the development of his ideas might evolve directly

from a consideration of aesthetics. He believes that the content and form of his projects

are embedded in a process of speculation rather than visual considerations: ‘Whatever

the project, I like to start off from somewhere else rather than it being generated by

what it looks like. For example, I’ve recently designed a set of cutlery for Alessi called

‘Vertical Cutlery’, but the idea started with my observation that people in London live in

increasingly smaller apartments. So if you have guests for supper then you don’t want all

this crap on the table; you want to make it simple so that you’ve got some space to sit

and have a drink and the cutlery can be easily added when it’s time to eat. So it was an

idea derived from my observations and not generated from an idea about what it should

look like.’

BELOW VERTICAL CUTLERY FOR ALESSI, 2004

Alsop believes that the content and form of his projectsare embedded in a process of speculation rather thanin visual considerations: ‘Whatever the project I like tostart off from somewhere else rather than it beinggenerated by what it looks like. For example, I’verecently designed a set of cutlery for Alessi ... but theidea started from my observation that people inLondon live in increasingly smaller apartments ... andwas not generated from an idea about what it shouldlook like.’

A R C H I T E C T U R E A N D B E A U T Y172 W I L L A L S O P 173

RIGHT BLIZARD BUILDING, SCHOOL OF MEDICINEAND DENTISTRY FOR QUEEN MARY, UNIVERSITY OFLONDON, WHITECHAPEL, LONDON, 2005

Despite his generosity of spirit, Alsop is also a manwith strong convictions who is prepared to fightarduous battles for the acceptance of his architecture.He pursues a strong sense of justice and is not afraid toconfront his contemporaries if he feels they arepolitically conservative and in breach of their positionsof power and the potential influence of the architect inpolitics – such is his passion for a diverse and inspiringarchitectural culture.

9

10

A Conceptual Framework for Architecture VOL I Patrik S. Schumacher

978-0-470-77298-0 Paperback 400pp $60.00 Oct 10

978-0-470-77299-7 Hardback $144.00

This is the first volume of a major theoretical work outlining

how the discipline of architecture should be understood as

its own distinct system of communication. This approach

allows architecture to be analysed in elaborate detail while

at the same time offering insightful comparisons with other

subject areas, such as art, science and political discourse.

On the basis of such comparisons the book insists on the

necessity of disciplinary autonomy and argues for a sharp

demarcation from both art and engineering. Schumacher

accordingly argues controversially that design intelligence

and architecture as a discipline has its own internal logic.

• Written by a key architectural practitioner, that is sure to

provoke controversy

• Written with the mission of impacting practise as well as

providing theory for contemplation

• A major theoretical work that challenges how we analyse

and perceive architecture

• It provides students and architects with a conceptual

framework for architecture

The Autopoiesis of Architecture:

• Set to become a key text for architectural students and

practitioners

• Volume I contains five of the 12 parts, with Volume II publishing in Feb 2011

Volume II Paperback $61.00 978-0-470-66616-6

Hardback $150.00 978-0-470-66615-9

About the author:

Patrik Schumacher is a leading international figure in

architectural practice and academia: he is a partner in Zaha

Hadid Architects and a co-director of the prestigious Design

Research Laboratory at the AA and Professor at the Institute

for Experimental Architecture at Innsbruck University.

11

High-Rise and the CityEric Firley

978-0-470-68474-0 Hardback 240pp $90.00 Feb 11

For well over a century, the skyscraper has provided an

ingenious solution to high-density urban living – housing

the greatest number of people in buildings with a minimal

footprint. What is the right high-rise solution for a particular

urban context? The Urban Towers Handbook provides

the answer to this question for architects, planners and

developers by organising iconic examples of towers into

distinct typological groups and providing an essential

reference book and design tool.

• Provides a comprehensive comparative analysis of high-rise

towers in their urban context

• Includes newly commissioned photography and drawings,

drawn to scale: urban plans, floor plans, sections and

elevations

• Presents 30 in-depth case studies of iconic towers, such

as the Eiffel Tower, Chrysler Building and Rockefeller Tower

• It illustrates some 40 further contemporary and future

towers

The Urban Towers Handbook:

About the author:

Eric Firley is the author of The Urban Housing Handbook.

An architect and urban designer, he is currently based in

Paris. Since studying in Lausanne, Weimar and London, he

has worked in several practices and design consultancies in

France and the UK.

12

The Patterns and Forms that Make the Metropolis Terry Farrell

978-0-470-69996-6 Hardback 288pp $90.00 Oct 09

Illustrated with maps, archive photographs and paintings,

as well as original sketches by Farrell, the book provides

a vibrant and intriguing collage of London’s patterns and

its history – a wholly new and dynamic view of London by

renowned architect Sir Terry Farrell.

“ When the subject is London, there is no one I admire more than Terry Farrell.”

Bill Bryson

“ The most important and inspirational London book of the decade. It offers a physical description of the city that is both a perceptive analysis of its past and a vision for its future”

Dan Cruickshank

“ Rare among today’s architects and planners, Terry Farrell really understands the texture of London. His eye misses nothing, from kerbstones, traffic islands, walls and trees to a realistic vision of the city as a whole.”

Simon Jenkins

Shaping London:

“ Terry Farrell has produced a first-class combination of historical insight, geographical observation and infrastructure analysis – the distilled thoughts of a true urbanist. Essential reading for anyone engaged in adding to London’s built environment, and a wonderfully illustrated story for more general readers.”

Paul Finch, Chair, Commission for Architecture and the Built Environment (CABE)

1335

2nd Edition Sean Stanwick, Loraine Dearstyne Fowlow

978-0-470-72141-4 Hardback 232pp $83.00 Apr 10

The pressure is on for wine producers to commission the

most interesting spaces to promote their wines and celebrate

the culture of wine and its production.

Frank Gehry, Herzog and de Meuron and Santiago Calatrava

amongst many others have all recently designed wineries that

focus on the tour as well as the production, making wineries

one of the most exciting areas of architecture today.

This new edition of Wine by Design adds a further nine

wineries to those in the original book, from Austria, Canada,

Italy, Portugal, Spain and the USA and are by such well-

known architects as Alvaro Siza and Renzo Piano.

Wine by Design

About the authors:

Loraine Fowlow is Interim Dean and an Associate Professor

in the Faculty of Environmental Design at the University of

Calgary.

Sean Stanwick is an associate at Farrow Partnership

Architects Inc and a partner at CreativeWorks Consulting in

Toronto, Canada.

6 7

ABOUT THEGUEST-EDITOR

Dr Marjan Colletti is co-founder of the studio marcosandmarjan in London, and currently a lecturer in architecture at the Bartlett School of Architecture, University College London (Unit Master, Unit 20), and the University of Westminster (Unit Master, DS10) with Marcos Cruz. He has been a guest professor at UCLA and Innsbruck University, Austria and design instructor at various institutions in Europe and Asia. His projects and texts attempt to bridge the gap between architectural theory and the built environment by expanding the vocabulary of digital architecture. On various platforms – research, education and practice – he endeavours to establish a debate in which experimentation, technology and innovation do not exclude personal emotions, local traditions and cultural identity. His work has been widely published and shown in more than 50 exhibitions in Europe, Brazil and Asia.

marcosandmarjan’s portfolio includes the competition-winning entry for a 180,000-square-metre (1.9 million-square-foot) entertainment complex in front of the gates of the Summer Palace in Beijing, the built pavilions and general layout for the 2005 Lisbon Book Fair, as well as the ongoing NURBSTERS series and the runner-up project for an estate Sales Centre and model homes display in Cairo.Marjan’s PhD on ‘Digital Poetics’ (Bartlett, UCL), the co-authored book marcosandmarjan: Interfaces/Intrafaces (SpringerWienNewYork, 2005) and the print collection 2&1/2D Twoandahalf Dimensionality (Bucher Hohenems, 2006) favour a poetic digital avant-garde developed through 2-D, 3-D software and computer numerically controlled (CNC), rapid protoyping (RP), and computer-aided design and computer-aided manufacturing (CAD/CAM) technologies. Parallel strands of research are developing novel morphologies (Convoluted Tectonics), new urban strategies (InterPolis), higher education syllaba in digital design, computation and technology (AC_DC Architectural Curriculum for Design Computing), as well as sustainable manufacturing strategies (InterTech). 1

Marjan Colletti, 2&1/2D Fluffy Blue One: ‘Let us overcome virtual aloofness and disembodiment’, 2006The infi nite digital space formed in computer-aided design can most precisely be described by splinear, 2&½D drawings that convey more intricate spatial attributes than simple 2-D line drawings, yet less than 3-D renderings. Such drawings remain geometrically infi nitely fl at, yet they appear spatial in the manifestation of surfaces, volumes and shadows.

Marjan Colletti, 3&1/2D Shiny One, 2009Unforeseen behaviours of circles-lofts are developed as part of an ‘anexact’ design process that employs otherwise exact and precise CAD commands. The results are abstract and symbolic; digital constructs – fi ctional metareproductions – of something between nature and technology, between the known and the unknown, the imaginary and the real. The digital architect is understood as being capable of acting and (meta)producing artistically since engagement with the model demands aesthetic consideration of its properties.

Marjan Colletti, Bartsters installation, Prague-Bratislava-Kosice, 2004–05marcosandmarjan’s NURBSTERs are a series of models and 1:1 prototypes, conceived for exhibitions and installations. The design and manufacturing processes are completely computerised. The Bartsters (Bartlett Nurbsters), designed as exhibition islands especially for the Bartlett/British Council exhibitions in Prague, Bratislava and Kosice in 2004 and 2005, challenge the dichotomy of style/structure. Building up a complex object, and fi tting programmatic, structural, ergonomic requisites expressed through curvilinear and arabesque geometries, the assemblage technique reinterprets the traditional Chinese wooden cut-joint fi tting ideal for quick assembly and disassembly.

Text © 2010 John Wiley & Sons Ltd. Images © Marjan Colletti

14

b Launched in 1930, Architectural Design is an influential and prestigious architectural publication. With an almost unrivalled reputation worldwide, it is consistently at the forefront of cultural thought and design.

AD is 80 this year! And to celebrate we have given AD a complete redesign and will shortly be launching our new website where you can have your say on the topics covered in the issues themselves. Keep your eye on www.architectural-design-magazine.com for launch information.

30

It is the high degree of variation that contributes to an environment that is able to develop the most qualitative difference in the morphological continuity of the project.

24 25

Ali Rahim emphasises the importance for design of overlaying a mastery of digital techniques with a nuanced and developed aesthetic sensibility. Here he illustrates his fascination with the formal with his exploration of ‘interiorities’, or internal logics of tectonic structures, in his design research at the University of Pennsylvania. The strive to create variation and atmosphere in buildings effectively places a stress on different part-to-whole relationships, organisations, material qualities and colours and their various rates of transformation.

Ali Rahim

Jisuk Lee (Rahim Research Studio, University of Pennsylvania), Migrating Formations: Mixed-Use Complex, Moscow, 2008

70

Xefi rotarch, Patagonia Museum Pavilion, Patagonia, Argentina, 2008–Operates with the terrritory of affective arousement.

EXUBERANCE,I DON’T KNOW;EXCESS,I LIKE

Hernan Diaz Alonso

71

Hernan Diaz Alonso redefi nes ‘excess’ and ‘exuberance’ on his own terms. Fully au fait and comfortable with the excessive, he describes how in relation to his own work he views excess as more of a tendency or a logic, which sums up his approach; whereas he perceives the exuberant as removed from the design process and more like an ‘adjective’, an ‘emerging quality’ observed by others.

50

LET’S ROCK OVER BAROCKSince the 17th century, Austria has been a stronghold of the Baroque. Here Wolf D Prix of Coop Himmelb(l)au recognises the deep pull of this cultural tradition in contemporary Austrian architecture, as it continues to endow its designers with an aptitude for spatial sequence and a tendency to prefer to design complex spaces over simplifi ed boxes.

Wolf D Prix

Julian Fors, Jan Gronkiewicz and Dominik Strzelec (Studio Prix, University of Applied Arts, Vienna), Chardach, New Levent Subcentre, Istanbul, 2008 Taking the ancient Grand Bazaar and Istanbul’s gecekondular (informal urban dwellings) as its reference, the main goal of this student project was to create a building that could function as a new subcentre for the city’s Central Business District, animated by a shopping mall designed according to the traditional way of trading and living in Istanbul and answering global networking tendencies. The complexity of the programme, its location in a highly dense area, and the very large total surface presented a number of challenges. Three different typical strategies were thus set up: one experimental concerning spatial geometry, one based on virtual social space networking, and one conventional urban strategy. The result is a new architectural typology.

51

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16

Turkey At the Threshold Guest edited by Hülya Ertas, Defne Sunguroglu Hensel and Michael Hensel

978-0-470-74319-5 Paperback 144pp $54.00 Jan 10

All eyes are currently on Turkey with Istanbul’s status as

European Capital of Culture 2010. It makes it a pertinent

moment to take stock and to look at Turkey’s past, present

and future, bringing the nation’s cultural renaissance and

evolution to the fore internationally.

• Tackles aspects of globalisation and the potential threat

that a rapid rolling out of an overly homogenised built

environment poses to rich local building traditions that

are founded on specific climatic knowledge and cultural

diversity

• Provides an analytical approach that highlights specific

aspects of Turkey’s rich heritage and current design culture

• Contributors include Tevfik BalcIoglu, Gülsüm Baydar,

Edhem Eldem, Tolga islam, Zeynep Kezer, Ugur Tanyeli,

ilhan Tekeli and Banu Tomruk

Exuberance New Virtuosity in Contemporary Architecture Guest edited by Marjan Colletti

978-0-470-71714-1 Paperback 144pp $48.00 Mar 10

This title of AD heralds a new era of exuberance in digital

design. Having overcome the alienation and otherness of the

cyber, having mastered the virtual qualities and protocols of

the parametric, having achieved the intricacy and elegance

of the digital, and having fully embraced the potential

of 3d computer software and cad/cam manufacturing

technologies, it is now time for architects to show off!

• Debates a plethora of joyful and intelligent ways in which

experimental architecture manages to cope with the

contemporary turmoil in global politics, economics and

ecology

• Includes the work of seminal figures such as Peter Cook

and Wolf D Prix

• Features cutting-edge designers: Hernan Diaz Alonso,

Marjan Colletti, CJ Lim, Ali Rahim, Neil Spiller, Kjetil Thorsen

and Tom Wiscombe

46

Giovanni Battista Piranesi, Engraving of the ‘Basilica’ 6th-century Greek temple at Paestum, southern Italy, 1778An emotive and aestheticised approach to ancient remains.

Bernardo Vittone, Santa Chiara, Bra, Piedmont, Italy, 1741–2Punctures in the dome and adjacent domelets.

17

Territory Architecture Beyond Environment Guest edited by David Gissen

978-0-470-72165-0 Paperback 136pp $48.00 Apr 10

Advancing a new relationship between architecture and

nature, Territory emphasises the simultaneous production

of architectural objects and the environment surrounding

them. Ultimately, it advocates architecture as a strategy of

environmental tinkering versus one of accommodation or

balance with an external natural world.

• Territory moves beyond naturalistic concepts – biomimetic,

morphogenetic or green architecture – by demonstrating

architecture’s role in producing nature and our interpretations

of nature

• Territory uncovers the numerous permutations and

possibilities of emerging “geographical” thought in

contemporary architecture with cutting edge geographers

and historians discussing contemporary work

• Features a diverse group, including architects Nicholas de

Monchaux, Future Cities Lab, Omar Khan, SeARCH, and

WEATHERS, and artists, scientists, and explorers Patric

Blanc, Fritz Haeg, and Gilles Ebersolt

18

The New Structuralism: Design, Engineering and Architectural TechnologiesGuest edited by Rivka Oxman

978-0-470-74227-3 Paperback 136pp $48.00 Jul 10

Today the convergence of design, engineering and

architectural technologies are breeding a new material

practice in experimental architecture. In this pioneering

publication, this important shift is fully defined as a highly

dynamic synthesis of emerging principles of spatial, structural

and material ordering integrated through the application of

materialisation and fabrication technologies.

• Features exemplary work by research and experimental

design-oriented structural engineering practices: Hanif Kara

(AKT), Werner Sobek and Bollinger + Grohmann

• Contributors include: Holzer and Downing, Neri Oxman,

Helmut Pottmann, Nina Rappaport and David Chilton

• Focuses on new design and fabrication technologies in the

recent work of Gramazio and Kohler, Barkow and Leibinger,

EMBT and Fabian Scheurer (Designtoproduction)

Post-Traumatic UrbanismGuest edited by Charles Rice, Adrian Lahoud, Anthony Burke

978-0-470-74498-7 Paperback 136pp $48.00 Sep 10

Urban trauma describes a condition where conflict or

catastrophe has disrupted and damaged not only the

physical environment and infrastructure of a city, but also

the social and cultural networks. Cities experiencing trauma

dominate the daily news. Images of blasted buildings, or

events such as Cyclone Katrina or the earthquake in Haiti

exemplify the sense of ‘immediate impact’. But how is this

trauma to be understood in its aftermath, and in urban

terms? What is the response of the discipline to the post-

traumatic condition?

• Contributors include: Andrew Benjamin, Ole Bouman, Brian

Massumi and Eyal Weizman

• Featured cities: Beirut, Shenzhen, Beelin and Caracas

• Encompasses: urban conflict reconstruction, infrastructure

development, climate change, public relations, population

growth and film

83

EMERGENT, The Menagerie, 2006– Surface-to-pleat, surface-to-armature and vector-to-shell studies.

078-087-c11.indd 83 03/02/2010 17:2719

EcoRedux: Design Remedies for an Ailing Planet Guest edited by Lydia Kallipoliti

978-0-470-74662-2 Paperback 136pp $48.00 Nov 10

This issue of AD explores the remarkable resurgence of

ecological strategies in architectural imagination now that

we’re faced with the urgency to heal an ill-managed planet

that is headed towards evolutionary bankruptcy. EcoRedux

differs from a utopian vision in that it does not explicitly seek

to be right; it recognises pollution and waste as generative

potential for design.

• Injects creativity into ecological design

• The issue brings to the fore a whole new group of

designers that are producing inspired, ecological design

solutions

• It features a visual encyclopaedia as a resource of

ecological ideas and strategies; a database and a timeline

of ecological design will accompany this resource of past

and present work in the field

e P

rimer

s

20

b

Primers series Nigel Coates

978-0-470-05744-5 Paperback 160pp $60.00 Dec 10

978-0-470-05745-2 Hardback $110.99

To architects the enduring attraction of narrative is that it

offers a way of engaging with the way a city feels and works.

Rather than reducing architecture to mere style or an overt

emphasis on technology, it foregrounds the experiential

dimension of architecture. In practice it is just as easy to be

minimalist as maximalist in its execution.

• The first publication to look the subject of narrative

architecture in the eye – it deals with its background,

analysis, practice as well as its implications for the future

• In addition to Coates’ own work, the book features projects

by Will Alsop, Jean Nouvel, Atelier van Lieshout, Bernard

Tschumi, Diller & Scofidio , FAT, AOC, Enric Miralles,

Charles Jencks, NL architects, Daniel Libeskind, Jon Jerde

and Mark Fisher

• The book is organised into four chapters; Abject narrative,

NATO and the formulation of narrative, Narrative as

practice; Can narrative contribute to expanding architecture

in new ways?

Narrative Architecture

About the author:

Nigel Coates is an architect, designer and educator, and

Professor of Architectural Design at the Royal College of Art

21

Also available:

Drawing:The Motive Force of ArchitectureSir Peter Cook

May 08 978-0-470-03480-4 Hardback $120.99

978-0-470-03481-1 Paperback $49.99

Spatial Intelligence: New Futures for ArchitectureLeon van Schaik

Sep 08 978-0-470-72322-7 Hardback $121.00

978-0-470-72323-4 Paperback $50.00

The Thinking Hand:Existential and Embodied Wisdom in ArchitectureJuhani Pallasmaa

Mar 09 978-0-470-77928-6 Hardback $156.00

978-0-470-77929-3 Paperback $66.00

Sus

tain

able

Des

ign

22

A Real-life Guide to Sustainable Living Pooran Desai

978-0-470-71546-8 Paperback 216pp $60.00 Nov 09

978-0-470-71557-4 Hardback $138.00 Nov 09

Amidst the threat of climate change and ever growing public

interest in greener lifestyles, developers, local authorities and

the government are now urging the creation of sustainable

communities. Government legislation is starting to incentivise

developers in this direction, yet with so many aspects to

consider a project can easily go wrong.

One Planet Communities cuts through the confusion, giving

a clear and simple framework that will allow students,

developers, surveyors, engineers, policymakers, architects

and planners to structure their thinking towards developing

sustainable communities effectively.

This is without doubt the standard introductory text for

design professionals and the development and planning

industry.

One Planet Communities:

About the author:

Pooran Desai, OBE, is a co-founder of award-winning

environmental organisation BioRegional Development Group,

where he originated the term ‘One Planet Living’ and leads

the group’s One Planet Communities programme.

Living and working at the BedZED eco-village in south

London, he brings to bear on his work personal as well as

professional experience.

23

The Work of Ken Yeang Sara Hart with David Littlefield

978-0-470-72140-7 Hardback 272pp $90.00 Oct 10

Internationally recognised for leading ecological design

in architecture, Ken Yeang has built over 200 buildings

globally and published numerous books advocating an

environmentally responsive approach to design. His ideas

and architecture have been prolifically published worldwide

– this book however, marks the first definitive overview and

critical approach to the development of Yeang’s work.

• Features Yeang’s entire career – detailing 30 projects drawn

from over three decades of practice

• Includes an extensive introduction by author Sara Hart,

preface by Lord Foster, a further article by influential

architect and academic John Frazer and commentary by

Leon van Schaik, amongst essays by further contributors

Eco-Architecture:

About the author:

Sara Hart is a New York-based writer and contributing editor

at Architectural Record.

About the editor:

David Littlefield is an architectural writer and a senior

lecturer at the University of the West of England.

24

The Art of Eco-Engineering: Successful Collaborations in Sustainable Design Bry Sarte

978-0-470-45361-2 Hardback 384pp $96.00 Sep 10

As more factors, perspectives, and metrics are incorporated

into the planning and building process, the roles of engineers

and designers are increasingly being fused together. The

Art of Eco-Engineering explores this trend with an in-depth

look at sustainable engineering practices in an urban design

context.

• Includes coverage of watershed master-planning, green

building, optimising water reuse, reclaiming urban spaces,

green streets initiatives, and sustainable master-planning

• Supplements the core reference material with international

examples and case studies

• Provides guidance on the role creative thinking and

collaborative team-building play in developing the complex

solutions needed to affect a sustainable transformation of

the built environment

Environmental Issues for Architecture David L. Smith

978-0-470-49709-8 Hardback 464pp $96.00 Dec 10

With the advent of more complex technologies, engineers

and other specialists, the architect’s role assumes an

expansion to project and team management; Environmental

Issues in Architecture gives the bigger picture without

overwhelming on the details.

• Gives an understanding of the principles of environmental

controls without getting bogged down in engineering

issues, covering the critical issues that architects need to

influence and inform their designs

• Illustrated throughout with photographs and drawings, with

emphasis on the historical perspective of building systems

• Enables designers to effectively communicate and

coordinate with specialists in HVAC, electrical, lighting,

plumbing, and acoustics

• Includes Companion Web site with PowerPoint

presentations, exercises, and Instructor’s Manual

25

Sustainable Site Design:Criteria, Process, and Case Studies for Integrating Site and Region in Landscape Design Claudia Dinep, Kristin Schwab

978-0-470-18783-8 Hardback 288pp $90.00 Jan 10

From project inception through implementation, Sustainable

Site Design sets forth a comprehensive approach to

context-informed sustainable landscape design. This

approach emphasises the need to understand each site’s

unique potential for sustainability, especially in relation to the

ecological, social, economic, and cultural conditions of its

regional setting. The book aims to integrate the concerns

of regenerative landscape function with the quest for

memorable, meaningful form.

Sustainable Solutions for Water Resources: Policies, Planning, Design, and ImplementationJames L. Sipes

978-0-470-52962-1 Hardback 368pp $108.00 May 10

Sustainable Solutions for Water Resources provides a basic

overview of water resources, hydrology, the current problems

involving water resources, and the potential impact of

global warming and climate change. This book emphasises

solutions for addressing concerns about water resources,

presented via real-world projects that look at different ways

to integrate concepts for water resources with other design

and planning decisions.

With over twenty case studies of real-world projects of

varying scale and complexity, this book is comprehensive

reference to sustainable management of water resource.

26

Guide to Green Building Rating Systems: Understanding LEED, Green Globes, Energy Star, the National Green Building Standard, and MoreLinda Reeder

978-0-470-40194-1 Paperback 240pp $90.00 Apr 10

Guide to Green Building Rating Systems informs readers

about the rating system selection process. Comparing

essential issues such as cost, ease of use, and building

performance, this book offers solid guidance that will help

readers find the rating system that best fits their needs.

Sustainable Laboratory Architecture: Planning, Design, and Operation KlingStubbins

978-0-470-48564-4 Hardback 288pp $96.00 Aug 10

Intended for architects, lab planners, and engineers, this is a

comprehensive book on the sustainable design of research

laboratories. Written by a well-known firm, KlingStubbins,

which has designed many laboratory buildings, this book has

information on integrated design, site design, programming

and planning, building materials, and the interiors of labs.

Includes a number of case studies of the best contemporary

sustainably designed labs.

27

28

Sustainable Preservation: Greening Existing Buildings Jean Carroon

978-0-470-16911-7 Hardback 320pp $90.00 Nov 10

Written by a noted expert on the subject, Sustainable

Preservation is the first comprehensive book on sustainable

and green historic preservation for architects and

preservation professionals. This resource explores issues

from building location and site to building materials, lighting,

systems, and the building envelope.

Sustainable School Architecture: Design for Elementary and Secondary Schools Lisa Gelfand, Eric Corey Freed

978-0-470-44543-3 Hardback 352pp $96.00 Apr 10

With a practical overview of how sustainability can be

achieved in new and existing schools, and how to maintain

this momentum in the years ahead, this important book

provides architects with detailed guidance for designing

healthier learning environments to help usher in a more

promising future.

29

Dra

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30

Fabio Schillaci

978-0-470-66410-0 Hardback 464pp $90.00 Apr 10

The rendering is the most potent means of communicating

an architectural design. It provides a complete image

of a building in its planned setting. Unlike a physical or

computer model, an elevation or plan, it speaks in a direct

and accessible visual language that will enable any viewer

to immediately picture the architect’s vision. The potency of

the rendering is clearly understood by architects and clients

alike. Major architectural practices now commission specialist

studios to produce finished renderings of their buildings in

order to effectively sell their designs to their clients, while

clients also invest in renderings to convince the wider public

of their vision for large-scale architectural projects. Whereas

traditionally the rendering was an architectural drawing

enlivened by watercolour washes, contemporary renderings

are produced in a wide range of media and formats with the

explicit purpose of visualising and exciting.

A stunning visual survey of architectural rendering today that:

• Provides in-depth profiles of 14 of the top international

rendering studios

• Features images of landmark buildings, such as Foster’s

British Museum, IM Pei’s Pyramid for the Louvre and OMA/

Rem Koolhaas’ Central Library for Seattle

Architectural Renderings

• Includes architectural designs by high-profile practices:

Asymptote, Jean Nouvel, UN Studio and Zaha Hadid

Architects

• Supplies key insights into the working methods of specialist

rendering studios and their application of manual and digital

technologies

• Features informative essays by Fabrizio Avella, Professor

of Drawing and Measuring and Digital Drafting at the

University of Palermo, and Augusto Romano Burelli,

Professor in the Department of Architecture at the

University of Venice

Project: United States Census Bureau Headquarters, Washington DC (USA), 2000 Client:Skidmore Owings & Merrill, New York (USA) Software / Technique:AutoCAD, 3ds Max, Hi-Res QFX People involved: 3 Time needed:2 weeks

Project: Pacific Design Centre, West Hollywood (USA), 2005 Client:Pelli Architects, New Haven (USA) Software / Technique:3ds Max, VRay, Photoshop People involved: 3 Time needed:3 weeks

Project: Los Angeles Federal Courthouse, Los Angeles (USA), 2007 Client:Perkins & Will, Chicago (USA) Software / Technique:3ds Max, VRay, Photoshop People involved: 2 Time needed:1.5 weeks

278 279Office > studio amd, painting + motion

Giuseppe Damiani Almeyda (1834 –1911), Progetto per il teatro Massimo di Palermo, prospetto principale, 1874Archivio Damiani, Palermo (Italy) Photo: Fabrizio Avella, post-processing: Fabrizio Avella, Giuseppe Dalli Cardillo

Giuseppe Damiani Almeyda (1834 –1911), Padiglione centrale del Gran Caffé, prospetto, 1890 From Istituzioni Architettoniche, Archivio Damiani, Palermo (Italy)

22 23Essay > Fabrizio Avella

Tullio Crali (1910 – 2000), Palazzo delle scienze, 1930 MART, Museo d’Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto (Italy)

Antonio Sant’Elia (1888 – 1916), La città nuova. Casamento con ascensori esterni, galleria, passaggio coperto, su tre piani stradali, 1914 Museo Civico di Palazzo Volpi, Como (Italy)

Mario Chiattone (1891– 1957), Construzioni per una metropoli moderna, 1914 Università di Pisa, Dipartimento di Storia dell’Arte, Gabinetto di disegni e stampe, Pisa (Italy)

Fabrizio Avella, Tensione, 2005

Page 37:Yakov G. Chernikhov (1889 –1951) Composition No. 86From Architectural Fantasies: 101 Compositions Gouache on paper, 24,2 cm × 30,3 cm, Collection Dmitry Y. Chernikhov (Russia)

36 37Essay > Fabrizio Avella

The real temple is the naos formed by large square pillars, enclosed by a large ambulatory, profoundly altering the traditional closed cell. So the light needs to penetrate from the roof of the unbuilt naos, just before the chryselephantine statue of Zeus. This light also illuminates the covered ambulatory, which remains somewhat in darkness, once enlightened by the double opening that surrounds the Atlases, which are more than 7 m tall. Despite the skill and the precautions taken to reinforce the stability of the temple, archaeologists are convinced that it was never finished because it fell on the heads of its builders.

94 95Essay > Augusto Romano Burelli The Olympieion of Akragas

31

Fabio Schillaci is a practicing architect in Palermo, Rome

and Berlin, whose work has been published in international

books about digital design techniques.

32

Digital Drawing for Landscape Architecture: Contemporary Techniques and Tools for Digital Representation in Site Design Bradley Cantrell, Wes Michaels

978-0-470-40397-6 Paperback 320pp $90.00 Mar 10

Building on the tried-and-true principles of analogue

representation, Digital Drawing for Landscape Architecture

explores specific techniques for creating landscape

representation digitally. It explains the similarities and

differences between analogue and digital rendering, and then

walks you through the steps of creating digitally rendered

plans, perspectives, and diagrams.

Basic Perspective Drawing: A Visual Approach, 5th Edition John Montague

978-0-470-28855-9 Paperback 320pp $72.00 Jan 10

Master the art of perspective drawing with this updated edition

Basic Perspective Drawing, Fifth Edition gives artists,

illustrators, designers, and architects an accessible visual

guide for developing a firm and thorough grasp of the

important principles and techniques for perspective drawing.

With the same attractive, easy-to-follow style that made

previous editions so popular, this Fifth Edition adds new

chapters on freehand sketching and rapid visualisation,

additional step-by-step examples, and new material

demonstrating three-point views and methods of setting

figures into perspective spaces.

33

Architectural Design, Drafting, and CAD Kirby Reycraft

978-0-470-05363-8 Hardback 704pp $119.00 Nov 10

Introduction to manual and computer-aided architectural design drafting

• Teaches architectural drafting within the context of design

and construction, giving the reader practical tools for

decision making

• Reflects the current industry standards for design

presentation, and adheres to latest building codes

• Appropriate for architectural drafters, CAD operators,

and students in architectural technology and architectural

engineering

Drawing Shortcuts: Developing Quick Drawing Skills Using Today’s Technology, 2nd Edition Jim Leggitt

978-0-470-43548-9 Hardback 264pp $71.95 Jan 10

Create top-quality drawings faster and more effectively

This book introduces you to the fundamentals of drawing –

such as drawing types, media options, composition, colour,

shading, hatching, and perspective – and then explains how

to incorporate the most current digital technologies into your

work.

Aca

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Architectural Graphics, 5th Edition Francis D. Ching

978-0-470-39911-8 Paperback 256pp $54.00 Dec 09

Architectural Graphics offers the essential drawing tools,

principles, and techniques designers use to communicate

architectural ideas. In this Fifth Edition, Francis D.K. Ching

expands upon the wealth of illustrations and instructions that

have made this book a classic, and guides readers through

the subtleties of translating architectural ideas into vivid visual

representations.

A Global History of Architecture, 2nd Edition Francis D. Ching, Mark M. Jarzombek, Vikramaditya Prakash

978-0-470-40257-3 Hardback 832pp $114.00 Dec 10

The first edition of A Global History of Architecture changed

the way architectural history is viewed and studied. This

Second Edition surpasses the first with a lavish new design,

illustrated throughout with drawings and photographs in full

colour, and even more maps and diagrams detailing global

interconnections. The signature drawings of Francis D.K.

Ching are more informative than ever, updated with scale,

annotation, and function added where needed.

35

Illustrated History of Landscape Design Chip Sullivan, Elizabeth Boults

978-0-470-28933-4 Paperback 272pp $60.00 Feb 10

For thousands of years, people have altered the meaning

of space by reshaping nature. As an art form, these

architectural landscape creations are stamped with societal

imprints unique to their environment and place in time.

Organised by century and geographic region, this highly

visual reference uses hundreds of masterful pen-and-

ink drawings to show how historical context and cultural

connections can illuminate today’s design possibilities.

Mechanical and Electrical Equipment for Buildings, 11th Edition Walter T. Grondzik, Alison G. Kwok, Benjamin Stein, John S. Reynolds

978-0-470-19565-9 Hardback 1792pp $169.00 Dec 09

The pre-eminent teaching and practice reference for building

environmental control systems, Mechanical and Electrical

Equipment for Buildings is the only comprehensive text

covering basic theory, preliminary building design guidelines,

and detailed design procedures. With over 2,200 drawings

and photographs, this updated edition provides information

on the latest technologies, emerging design trends, and

updated codes.

Pro

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36

Design through Dialogue: A Guide for Architects and Clients Karen A. Franck, Teresa von Sommaruga Howard

978-0-470-72190-2 Hardback 208pp $156.00

978-0-470-87071-6 Paperback $65.99 Dec 09

Too often, in popular culture and in architecture education,

architects are portrayed as lone artists who retreat to their

studios to evolve outstanding designs all on their own.

Design through Dialogue analyses the dynamic behind

successful architect and client communication. Material for

the book is drawn from interviews with practicing architects

and successful case studies from around the world.

“ The best buildings are truly co-created through a process in which architect and client exchange knowledge in an unfettered way. This engaging, wide-ranging book puts forward a powerful case for such dialogue. I welcome it as a timely antidote to some of the myths that prevail about making excellent buildings and places.”

Sunand Prasad, President, Royal Institute of British Architects, 2007-2009

“ Design through Dialogue documents the discussions between architects and their clients that rarely get into print yet make all the difference between a successful project – and a happy client – or not. I highly recommend it for students and practitioners alike.”

Thomas Fisher, Dean, College of Design, University of Minnesota

“ This book addresses a pivotal but previously neglected relationship between architect and client – in an exceptionally intelligent, accessible and (above all) useful manner.”

Jeremy Till, Dean, School of Architecture, University of Westminster

37

The Architect’s Guide to Preventing Water Infiltration Elmer E. Botsai, Charles Kaneshiro, Phil Cuccia, Hiram Pajo

978-0-470-40165-1 Hardback 240pp $102.00 Apr 10

A guide for architects and builders, this book covers the

principles and practical approaches to water infiltration

prevention for a variety of building types from residential to

commercial buildings.

Applied Building Physics: Boundary Conditions, Building Performance and Material PropertiesHugo S. L. C. Hens

978-3-433-02962-6 Paperback 288pp $108.00 Aug 10

In recent years, Building Physics and its potentiality to

quantify performances has been pushed to the frontline

of building innovation. As with all engineering sciences,

Building Physics is oriented towards application, and so this

book looks to the performance rationale and performance

requirements.

38

Architectural Acoustics: Principles and Practice, 2nd Edition William J. Cavanaugh, Gregory C. Tocci, Joseph A. Wilkes

978-0-470-19052-4 Hardback 352pp $150.00 Jan 10

The leading guide to acoustics for architects, engineers, and

interior designers

A widely recognised, comprehensive reference to acoustic

principles for all concerned with the built environment,

Architectural Acoustics, Second Edition provides design

professionals with up-to-date information on basic concepts,

acoustical materials, and technologies for controlling wanted

or unwanted sound within and around buildings.

Architectural Graphic Standards for Residential Construction, 2nd EditionAmerican Institute of Architects, Dennis J. Hall, Nina M. Giglio

978-0-470-39583-7 Hardback 720pp $239.00 May 10

In this revised edition, Architectural Graphic Standards for

Residential Construction provides an additional 400 pages

of new content, covering sustainable and green designs,

sample residential drawings, residential construction code

requirements, and contemporary issues in residential

construction. With new “smart” details that go beyond

dimensions and with references to the International

Residential Building Code, this book offers valuable BIM-

ready materials to save time for architects and designers.

39

FootbridgesKlaus Idelberger

978-3-433-02943-5 Paperback 200pp $119.00 Jul 10

Footbridges represents more than 100 international

footbridges realised during the last ten years. It contains brief

descriptions of the particular conditions, construction type

and structural system, as well as layout design, details and

photographs each.

Construction Specifications Writing: Principles and Procedures, 6th Edition Harold J. Rosen, John Regener

978-0-470-38036-9 Paperback 528pp $119.00 May 10

A comprehensive, practical guide to understanding the

purposes and processes for preparation of construction

specifications.

New to this edition:

• Updated to MasterFormat 2004, as well as SectionFormat/

PageFormat 2007 and Uniformat

• End of chapter questions and specification-writing

exercises

• Expanded coverage of specifications for sustainable design

• Updated information on the role of specifications in Building

Information Modeling (BIM)

40

Prefab Architecture: A Guide for Architects and Construction Professionals Ryan E. Smith

978-0-470-27561-0 Hardback 320pp $90.00 Dec 10

Prefab Architecture is primarily written for the architect and

construction professional, and outlines the many facets of

off-site construction.

Prefabrication can allow for greater efficiency and precision,

lessen environmental impact, and shorten construction

cycles. Smith offers designers and construction professionals

guidelines that rethink all stages of the design process in

order to effectively utilise the fabrication process.

Through real-world case studies, you’ll learn the essentials of

building a design practice, including:

• Deciding how and when to use business planning, strategic

planning, and financial planning to your benefit

• Techniques to build teams and motivate team members

• Ways to avoid costly mistakes

• Advice on branding and marketing your firm and yourself

• Methods to integrate new technology into your day-to-day

practice, marketing, and networking

Residential Building Codes Illustrated: A Guide to Understanding the 2009 International Residential Code Steven R. Winkel, David S. Collins, Steven P. Juroszek, Francis D. Ching

978-0-470-17359-6 Paperback 400pp $59.95 Jul 10

This book provides architects, engineers, and other related

building professionals with an understanding of how the

International Residential Code was developed, and how it

is likely to be interpreted when applied to the design and

construction of residential buildings.

41

Simplified Engineering for Architects and Builders, 11th Edition James Ambrose, Patrick Tripeny

978-0-470-43627-1 Hardback 688pp $114.00 Dec 10

Covering both the LRFD and ASD methods for structural

design, Simplified Engineering is the go-to book for those

working on the design of steel, wood, concrete and masonry

building structures.

Design Informed: Driving Innovation with Evidence-Based Design Gordon Chong, Robert M. Brandt, W. Mike Martin

978-0-470-39562-2 Hardback 320pp $96.00 Aug 10

Evidence-based design takes knowledge in areas such

as lighting, acoustics, and colour and applies it to human

behaviour and performance. This book is a collection of

key case studies of evidence-based design applied to

architectural design primarily for healthcare and office

buildings.

Gra

phic

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ndar

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Gui

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Graphic Standards Field Guide to Building Construction Dennis J. Hall

978-0-470-53648-3 Paperback 416pp $90.00 Dec 10

Graphic Standards Field Guide to Hardscape Leonard J. Hopper

978-0-470-42965-5 Paperback 320pp $90.00 Sep 10

Graphic Standards Field Guide to Home Inspections Stephen Gladstone

978-0-470-54291-0 Paperback 416pp $78.00 Sep 10

Graphic Standards Field Guide to Residential Construction Dennis J. Hall

978-0-470-63504-9 Paperback 416pp $90.00 Oct 10

Graphic Standards Field Guide to Softscape Leonard J. Hopper

978-0-470-42964-8 Paperback 320pp $90.00 Dec 10

Bui

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Building Type Basics for Housing,2nd Edition Joan Goody, Robert Chandler, John Clancy, David Dixon, Geoffrey Wooding

978-0-470-40464-5 Hardback 240pp $96.00 Mar 10

A one-stop reference for the information essential to the

design of housing.

Building Type Basics for Banks and Financial Institutions Homer Williams

978-0-470-27862-8 Hardback 256pp $96.00 Apr 10

A comprehensive guide to the planning and design of banks

and other financial institution projects.

Building Type Basics for Elementary and Secondary Schools, 2nd Edition Perkins Eastman Architects

978-0-470-22548-6 Hardback 352pp $96.00 May 10

A comprehensive quick reference guide to the architectural

design of elementary and secondary schools.

Inte

rior D

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44

Interior Design in Practice: Case Studies of Successful Business Models Terri Maurer, Katie Weeks

978-0-470-19053-1 Paperback 240pp $78.00 Feb 10

Whether you hope to own your own company, grow your

company, or rise high in the managerial ranks of a larger

practice, you must have a tight grasp of business basics in

order to succeed as an interior designer.

Interior Design Portfolios Maureen Mitton

978-0-470-40816-2 Paperback 208pp $66.00 Oct 10

This highly illustrated introduction guides the interior designer

through all the steps needed to develop a professional

portfolio by providing basic elements and principles of

graphic design. Popular software is introduced in terms of

how each program may be most useful for certain portfolio

elements, and it also uses extensive, real world examples of

portfolios, including illustrations of actual portfolios.

45

Interior Detailing: Concept to Construction David Kent Ballast

978-0-470-50497-0 Hardback 320pp $102.00 Oct 10

Interior Detailing provides interior designers and architects

with a unique collection of interior details and material

information; connecting the realms of design technical

detailing that are typically treated separately. The book,

which includes 150 easy to understand details, shows how

to logically think through the design and development of an

assembly so it conforms to the designer’s intent and meets

practical requirements of good construction.

Successful Restaurant Design, 3rd Edition Regina S. Baraban, Joseph F. Durocher

978-0-470-25075-4 Hardback 336pp $108.00 Feb 10

Successful Restaurant Design shows how to incorporate

your understanding of the restaurant’s front- and back-of-

house operations into a design that meets the needs of the

restaurant’s owners, staff, and clientele.

Gra

phic

Des

ign

46

Sustainable Graphic Design: Tools, Systems and Strategies for Innovative Print Design Wendy Jedlicka

978-0-470-24670-2 Paperback 528pp $59.95 Jan 10

Sustainability isn’t a fad or a movement; it’s a long-term

paradigm shift. Exploring eco-conscious materials and

production techniques, Sustainable Graphic Design shows

designers how to create more effective and more sustainable

designs.

• Opens your eyes to the bigger picture of design seen from

the viewpoints of the audience, the creative vendor, their

suppliers, and society as a whole

• Chapters are written by a wide range of sustainable

design pioneers and practitioners including graphic

designers, creative managers, marketing consultants,

environmentalists, researchers, and psychologists

• Includes case studies to illustrate and tie concepts together

Advertising by Design: Generating and Designing Creative Ideas Across Media, 2nd Edition Robin Landa

978-0-470-36268-6 Paperback 272pp $72.00 Sep 10

The most complete guide to the process behind creating

effective advertising, newly updated with coverage of the

latest advertising trends.

• Written with the designer in mind, this book covers

all facets of advertising design, from idea generation,

visualisation, composition, and copywriting to ethics and

the history of the profession

• Full colour throughout, showcasing up-to-date examples

that reinforce the concepts explained

• New coverage of topics such as guerrilla advertising,

interactive media, blogging, branding, storytelling, word-of-

mouth advertising, and ads for mobile devices

47

Digital Design for Print and Web: An Introduction to Theory, Principles, and Techniques John DiMarco

978-0-470-39836-4 Paperback 352pp $90.00 Mar 10

The all-inclusive guide – from theory to practice – for print

and Web design

By combining basic theory with hands-on technique, Digital

Design for Print and Web takes the unique approach of

uniting two subjects traditionally approached separately into

one complete volume. As a result, you will gain a clearer

understanding of the entire creative process, from project

management to working with graphics to designing for print

and, ultimately, the Web.

An ideal resource for design students or practitioners, Digital

Design for Print and Web will show you to how to create

more effectively and guide you on the path toward digital

design mastery.

Brand Atlas: Branding Intelligence Made Visible Alina Wheeler

978-0-470-43342-3 Hardback 144pp $35.95 Sep 10

The innovative guide to the world of branding for the

YouTube, PowerPoint, and iPod culture

• Speaks to a broad range of stakeholders in the branding

process—from CEOs to designers to brand managers

• Provides tools to integrate brand throughout the entire

customer experience, build relationships based on brand,

measure a brand’s value, and define a brand strategy

• Contains essential information illustrated through the use of

diagrams

48

Type Rules: The Designer’s Guide to Professional Typography, 3rd Edition Ilene Strizver

978-0-470-54251-4 Paperback 232pp $66.00 Jul 10

The newly updated Third Edition of this introductory

typography textbook explains basic type techniques and

relates them to applied design.

• Teaches basic typography concepts and instructs readers

on how to apply them to create effective design

• Includes new information on OpenType, font management

utilities, font web sites, and interactive typography

• Provides an expanded history of type and an updated

glossary of key terms

• Covers updated software programs such as InDesign CS4

and Quark 8

• Features exercises throughout to help reinforce the

concepts presented in the book

A Typographic Workbook: A Primer to History, Techniques, and Artistry, 3rd Edition Kate Clair, Cynthia Busic-Snyder

978-0-470-13761-1 Paperback 432pp $54.00 Sep 10

Fully revised to include new information on practical

typography topics, and improved graphics and colour

illustrations.

• New organisation focuses each chapter around key

learning objectives

• Includes new information on the proper use of grid, page

setup using desktop publishing software, copy fitting,

typesetting and editing, and font foundries and resources

• Updated study questions and review exercises build each

chapter around specific learning objectives

• Accompanying instructor resources include downloadable

worksheets, sample exercises, and classroom discussion

topics

Available wherever books are sold.

3 easy ways to order:

Online: www.wiley.ca | Phone: 1.800.567.4797 | Fax: 1.800.565.6802