Urban planning is a keystone in the materialization of the Nordic welfare states. That is not to say that there is one particular city form or planning practice that is synonymous with the emerging welfare city, as welfare per se is far from normative. On the contrary, welfare is a highly ambiguous and contested notion that has changed over the postwar decades, which is also reflected in the development of the welfare city. However, welfare in urban planning has mainly been associated with ideas of “the good life” and egalitarianism. In a Nordic context, the state has taken the lead in providing the social engineering “hardware” for advancing this universal aim. Social demographic welfare is economically based on full employment, and in this regard housing and caregiving support are key components. Yet education, infrastructure, and leisure facilities are also basic features in the distribution of universal welfare services for citizens’ entire lives. The results, ideally, are green and spacious welfare cities. This book outlines the origins, development, challenges, and lived realities of the changing welfare city, focusing primarily on Denmark. Strategies have changed over the decades as models of development have shifted and as the needs of society and a warming planet have come into focus. The current welfare city can be described as an urban landscape characterized by, on the one hand, a division of functions and, on the other, mutual competition. The role of the state has been minimized, turning municipalities into the new major agents in attracting taxpayers and providing goods—both by means of urban planning.

Over the past two decades, scholarship in architectural history has transformed, moving away from design studio pedagogy and postmodern historicism to draw instead from trends in critical theory focusing on gender, race, the environment, and more recently global history, connecting to revisionist trends in other fields. With examples across space and time—from medieval European coin trials and eighteenth-century Haitian revolutionary buildings to Weimar German construction firms and present-day African refugee camps—Writing Architectural History considers the impact of these shifting institutional landscapes and disciplinary positionings for architectural history. Contributors reveal how new methodological approaches have developed interdisciplinary research beyond the traditional boundaries of art history departments and architecture schools, and explore the challenges and opportunities presented by conventional and unorthodox forms of evidence and narrative, the tools used to write history.

This is the first volume concerned solely with the archaeology of a major late 17th-century building in London, and the major changes it has undergone. St Paul's Cathedral in the City of London was built in 1675–1711 to the designs of Sir Christopher Wren and has been described as an iconic building many times. In this major new account, John Schofield examines the cathedral from an archaeological perspective, reviewing its history from the early 18th to the early 21st century, as illustrated by recent archaeological recording, documentary research and engineering assessment. A detailed account of the construction of the cathedral is provided based on a comparison of the fabric with voluminous building accounts which have survived and evidence from recent archaeological investigation. The construction of the Wren building and its embellishments are followed by the main works of later surveyors such as Robert Mylne and Francis Penrose. The 20th century brought further changes and conservation projects, including restoration after the building was hit by two bombs in World War II, and all its windows blown out. The 1990s and first years of the present century have witnessed considerable refurbishment and cleaning involving archaeological and engineering works. Archaeological specialist reports and an engineering review of the stability and character of the building are provided.

How do you draw a column? What distinguishes the different orders of columns, and is it really possible for anyone at all to learn how to interpret classical architecture? Quinlan Terry, one of the world’s most noted classical architects, has designed cathedrals, castles, villas and university buildings in traditional style. All of his knowledge has now been gathered in The Layman’s Guide to Classical Architecture, a complete guide to the rudiments of classical architecture.Using his own drawings and sketches, Quinlan Terry shows step-by-step the structure of the different orders of columns, the relevance of proportions and the importance of the right materials and construction. The book is a contemporary version of the many pattern books in history that previously taught the same knowledge to architects, artisans and clients.Today a wider group of people can benefit greatly from learning about classical architecture, both as historical background and as inspiration for today. The foreword is written by King Charles III, who has worked in partnership with Quinlan Terry for many years.

A room’s acoustic character seems at once the most technical and the most mystical of concerns. Since the early Enlightenment, European architects have systematically endeavored to represent and control the propagation of sound in large interior spaces. Their work has been informed by the science of sound but has also been entangled with debates on style, visualization techniques, performance practices, and the expansion of the listening public. Echo’s Chambers explores how architectural experimentation from the seventeenth through the mid-twentieth centuries laid the groundwork for concepts of acoustic space that are widely embraced in contemporary culture. It focuses on the role of echo and reverberation in the architecture of Pierre Patte, Claude-Nicolas Ledoux, Carl Ferdinand Langhans, and Le Corbusier, as well as the influential acoustic ideas of Athanasius Kircher, Richard Wagner, and Marshall McLuhan. Drawing on interdisciplinary theories of media and auditory culture, Joseph L. Clarke reveals how architecture has impacted the ways we continue to listen to, talk about, and creatively manipulate sound in the physical environment.

In the 19th-century paradigm of architectural organicism, the notion that buildings possessed character provided architects with a lens for relating the buildings they designed to the populations they served. Advances in scientific race theory enabled designers to think of 'race' and 'style' as manifestations of natural law: just as biological processes seemed to inherently regulate the racial characters that made humans a perfect fit for their geographical contexts, architectural characters became a rational product of design. Parallels between racial and architectural characters provided a rationalist model of design that fashioned some of the most influential national building styles of the past, from the pioneering concepts of French structural rationalism and German tectonic theory to the nationalist associations of the Chicago Style, the Prairie Style, and the International Style. In Building Character, Charles Davis traces the racial charge of the architectural writings of five modern theorists – Eugene Emmanuel Viollet-le-Duc, Gottfried Semper, Louis Sullivan, Frank Lloyd Wright, and William Lescaze – to highlight the social, political, and historical significance of the spatial, structural, and ornamental elements of modern architectural styles.

This volume brings together data collected from both previously published surveys and new data collected using satellite imagery on the architecture and construction of over 2,400 rural structures in nine different regions of Tripolitania and dating between the 1st c. BC and the 7th c. AD. This first part contextualises the material within the historical background of Tripolitania, previous investigations and methodological foundations, the evidence for pre-Roman architectures and settlement, and the chronology of rural settlement during the period under study based on ceramic evidence. The second part presents quantitative and qualitative analyses of the physical characteristics first of Roman military structures, and then of the main group of buildings under investigation: unfortified and fortified farm buildings. The ways in which different spaces may have been utilised and the spatial relationships between the settlement groups formed by these buildings provide insight into how and why different types of buildings developed in the countryside during between the 1st c.

Gustav III s Collection including his own and other famous architects drawings, accompanied Gustav IV Adolf during his exile in 1809. The collection was returned to Sweden via a purchase in 1925 by the brothers Helge and Axel Ax:son Johnson and was inherited by Axel s daughter Marie-Claire. It is today stored at Engelsberg s Ironworks and is owned by the Marie-Claire Cronstedt Foundation. The drawings were made by Sweden s leading architects during the 17th- and 18th centuries and include, among others, the castles and gardens at Drottningholm, Ekolsund, Haga, Gripsholm, Karlberg, Ulriksdal, Svartsjö, Stockholm and Uppsala. Even Gustav III s own sketches are attributed. This book serves as a compendium to Gustav III His Own Architect where the drawings are reproduced in 1:1 format over three volumes.

The history of modern design and architecture has seen many attempts to embrace and merge different art forms, and to bring art into the framing of everyday life and the organisation of modern society, in a process understood as total design or total architecture. These attempts were historically based on the romanticist idea of merging all art forms into a uniting and transgressing work of art, mostly associated with – but certainly not limited to – Richard Wagner’s theoretical writings and musical dramas. This utopian dream of the Gesamtkunstwerk, or Total Work of Art, was intended both to bring unity to the people and to bring art into the everyday life of their homes, as well as into factories, cities and even modern media. As a result, the experiments ranged from music, poetry and drama to architecture, design, visual communication and city-planning. These ideas of merging art forms into more immersive and transgressive installations or design interventions to change everyday life are widespread today, but their complex and often problematic roots are mostly ignored. Design and architecture have delivered some of the broadest and most influential experiments with the Gesamtkunstwerk, from garden cities for workers and corporate identity design to the German AEG corporation.

We want to move beyond thinking of architecture as an object. Architecture is not separate from us--it is not something to be judged merely by its formal properties, its satisfaction of programmatic concerns or its performance in terms of technical parameters. We are not dismissing the importance of these factors but wish to enrich them, to understand and articulate how architecture can capture and express unseen layers of meaning and purpose. We want to think of architecture as a verb, a mover, a shaper, an active agent in human flourishing. In order to appreciate the potential power of architecture we want to explore the experience of architecture, and the intimately related experience of making architecture. Turning our attention to experience requires that we listen to and consider knowledge from a full array of disciplines. Experience is multi-dimensional, multi-directional, irreducible. Experience always supercedes, flows over any boundary that attempts to circumscribe it.

The Great Houses of the prehistoric and early medieval periods were enormous structures whose forms were modelled on those of domestic dwellings. Most were built of wood rather than stone; they were used over comparatively short periods; they were frequently replaced in the same positions; and some were associated with exceptional groups of artefacts. Their construction made considerable demands on human labour and approached the limits of what was possible at the time. They seem to have played specialised roles in ancient society, but they have been difficult to interpret. Were they public buildings or the dwellings of important people? Were they temples or military bases, and why were they erected during times of crisis or change? How were their sites selected, and how were they related to the remains of a more ancient past? Although their currency extended from the time of the first farmers to the Viking Age, the similarities between the Great Houses are as striking as the differences. This study focuses on the monumental buildings of northern and northwestern Europe, but draws on structures over a wide area, extending from Anatolia as far as Brittany and Norway. It employs ethnography as a source of ideas and discusses the concept of the House Society and its usefulness in archaeology. The main examples are taken from the Neolithic and Iron Age periods, but this account also draws on the archaeology of the first millennium AD. The book emphasises the importance of comparing archaeological sequences with one another rather than identifying ideal social types. In doing so, it features a range of famous and less famous sites, from Stonehenge to the Hill of Tara, and from Old Uppsala to Yeavering.

Architecture and urbanism have contributed to one of the most sweeping transformations of our times. Over the past four decades, neoliberalism has been not only a dominant paradigm in politics but a process of bricks and mortar in everyday life. Rather than to ask what a neoliberal architecture looks like, or how architecture represents neoliberalism, this volume examines the multivalent role of architecture and urbanism in geographically variable yet interconnected processes of neoliberal transformation across scales—from China, Turkey, South Africa, Argentina, Mexico, the United States, Britain, Sweden, and Czechoslovakia. Analyzing how buildings and urban projects in different regions since the 1960s have served in the implementation of concrete policies such as privatization, fiscal reform, deregulation, state restructuring, and the expansion of free trade, contributors reveal neoliberalism as a process marked by historical contingency. Neoliberalism on the Ground fundamentally reframes accepted narratives of both neoliberalism and postmodernism by demonstrating how architecture has articulated changing relationships between state, society, and economy since the 1960s.

Inspired by the rise of environmental psychology and increasing support for behavioral research after the Second World War, new initiatives at the federal, state, and local levels looked to influence the human psyche through form, or elicit desired behaviors with environmental incentives, implementing what Joy Knoblauch calls “psychological functionalism.” Recruited by federal construction and research programs for institutional reform and expansion - which included hospitals, mental health centers, prisons, and public housing - architects theorized new ways to control behavior and make it more functional by exercising soft power, or power through persuasion, with their designs.

Ugo Catani’s A Summer Shower in Collins Street, 1889, sets the scene for Andrew May’s invitation to walk the streets of Melbourne, imagine the everyday past, and see the urban landscape with new eyes. For the author, as for artists like Catani and Tom Roberts, the street frames the ever-changing throng of the wealthy and down-and-out, the passers-by, shoppers, idlers, hawkers, cabbies, entertainers, beggars, larrikins, prostitutes, custodians and law-breakers. It is the stage of ritual, procession and protest and the site of proud architecture, fine trees and public utilities. And it also has its hazards, of traffic, animals, assault, falling buildings, fire. Original and vital in subject and tone, this award-winning book is a rich commentary on the growth and transformation of a great Australian city and the balance between the need for public order and the democratic right to public space.

Although race - a concept of human difference that establishes hierarchies of power and domination - has played a critical role in the development of modern architectural discourse and practice since the Enlightenment, its influence on the discipline remains largely underexplored. This volume offers a welcome and long-awaited intervention for the field by shining a spotlight on constructions of race and their impact on architecture and theory in Europe and North America and across various global contexts since the eighteenth century. Challenging us to write race back into architectural history, contributors confront how racial thinking has intimately shaped some of the key concepts of modern architecture and culture over time, including freedom, revolution, character, national and indigenous style, progress, hybridity, climate, representation, and radicalism. By analyzing how architecture has intersected with histories of slavery, colonialism, and inequality - from eighteenth-century neoclassical governmental buildings to present-day housing projects for immigrants - Race and Modern Architecture challenges, complicates, and revises the standard association of modern architecture with a universal project of emancipation and progress.

The postwar period in Milan was a time in which the transformational possibilities of the Lombard metropolis were palpable. Architects looked to the future in planning an ideal city onto a pre-existing one heavily damaged in World War II. In doing so, they looked back to the relatively young tradition of modern architecture in Italy, while simultaneously re-ordering its narratives. Concentrating on three major elements of the new city, skyscrapers, housing, and city planning, this book approaches Milan as an ideal city of the postwar period through architecture, film, and print media.