Design Studio Vol 3 Designs On History

Each architectural design is a new history. To identify what is novel or innovative, we need to consider the present, past and future. We expect historical narratives to be written in words, but they can also be delineated in drawing, cast in concrete or seeded in soil. The aim of this volume is to understand each design as a visible and physical history. Historical understanding is investigated as a stimulus to the creative process, highlighting how architects learn from each other and other disciplines. This encourages us to consider the stories about history that architects fabricate. An eminent set of international contributors reflect on the relevance of historical insight for contemporary design, drawing on the rich visual output of innovative studios worldwide in practice and education. Wide ranging and thought-provoking articles encompass fact, fiction, memory, time, etymology, civilisation, racial segregation and more. Features: Elizabeth Dow, Pezo von Ellrichshausen, Terunobu Fujimori, Perry Kulper, Lesley Lokko, Yeoryia Manolopoulou, Niall McLaughlin, Aisling O’Carroll, Arinjoy Sen, Amin Taha and Sumayya Vally.

"Authored by pre-eminent design scholar Victor Margolin, World History of Design is an indispensable new multi-volume work, providing a comprehensive and detailed historical account of design from prehistory to the end of the twentieth century"--

Volumes 1 and 2 of this three part series focus on private, in house and commercial recording studios, mastering and cutting rooms and Recording Architecture's built output from 1987 to 2002 with technical chapters covering work stages A to H (including details of sound isolation, acoustic treatment, electrical power and ventilation/air conditioning). This third and final volume concentrates on post production studios (including film mix theatres), educational facilities (including research) and the years 2003 to 2010 together with work stages J to M (including technical furniture and audio monitor accommodation). Together, the three eBooks cover the entire contents of the hard back edition of RA:The Book but they have been edited and compiled to function as stand-alone volumes Established by Roger D'Arcy and Hugh Flynn on April 1st 1987 Recording Architecture has risen to become one of the premier recording studio design companies in the world. First Commissioned by ex Def Leppard guitarist Pete Willis for Blue Room studios In Sheffield swiftly followed by projects such as Hulgrave Hall, for composer Keith Hopwood the company has grown to design key installations around the world. Now for the first time they will be publishing a history of these ground breaking designs covering all aspects of architectural, acoustic and interior design of these studios and spaces specifically related to sound on a project by project basis. In a Career spanning Three decades Recording Architecture has virtually unrivalled experience in the design of studios which range in size and purpose from classical orchestral, residential, mixing, mastering, post production, film dubbing, video editing and rehearsal studios over 40 countries worldwide. Stating his desire to expand awareness with the new book Roger D Arcy states Over the years, and perhaps surprisingly, the only available books on recording studio design seem to have been written by individuals with little or no qualified background in Architecture or design in the field - we are trying show the detailed architectural/acoustic input behind a successful design with each studio study showing drawings in large format . This is not a theoretical guide but a detailed presentation of tried and tested techniques as applied to real, built projects in many of the case studies, the actual drawings issued for construction are reproduced. The examples illustrate not only what we think should be done but what was in fact physically (and successfully) implemented in a wide variety of situations from small, private project studios to large, commercial land mark studios such as Lansdowne and CTS. Examples range in scope from individual spaces and rooms to multi studio facilities and cover the two principal strands of recording and mixing: MUSIC studios recording (tracking), mixing and mastering (including cutting) project to orchestral in scale examples have been taken from the private, commercial and educational sectors. POST PRODUCTION studios voice over (dubbing), FX recording ( Foley ), film mix studios (dubbing theatres) from small voice over studios for TV to large Dolby Premier Certified film mix theatres. Contents include hundreds of photographs together with detailed plans and construction drawings - including comprehensive specifications of materials and techniques - showing exactly how these environments were created.

Design History Beyond the Canon subverts hierarchies of taste which have dominated traditional narratives of design history. The book explores a diverse selection of objects, spaces and media, ranging from high design to mass-produced and mass-marketed objects, as well as counter-cultural and sub-cultural material. The authors' research highlights the often marginalised role of gender and racial identity in the production and consumption of design, the politics which underpins design practice and the role of designed objects as pathways of nostalgia and cultural memory. While focused primarily on North American examples from the early 20th century onwards, this collection also features essays examining European and Soviet design history, as well as the influence of Asia and Africa on Western design practice. The book is organised in three thematic sections: Consumers, Intermediaries and Designers. The first section analyses a range of designed objects and spaces through the experiences and perspectives of users. The second section considers intermediaries from both technology and cultural industries, as well as the hidden labour within the design process itself. The final section focuses on designers from multiple design disciplines including high fashion, industrial design, interior design, graphic design and design history pedagogy. The essays in all three sections utilise different research methods and a wide range of theoretical approaches, including feminist theory, critical race theory, spatial theory, material culture studies, science and technology studies and art history. Design History Beyond the Canon brings together the most recent research which stretches beyond the traditional canon and looks to interdisciplinary methodologies to better understand the practice and consumption of design.

The second edition of The Urban Design Reader draws together the very best of classic and contemporary writings to illuminate and expand the theory and practice of urban design. Nearly 50 generous selections include seminal contributions from Howard, Le Corbusier, Lynch, and Jacobs to more recent writings by Waldheim, Koolhaas, and Sorkin. Following the widespread success of the first edition of The Urban Design Reader, this updated edition continues to provide the most important historical material of the urban design field, but also introduces new topics and selections that address the myriad challenges facing designers today. The six part structure of the second edition guides the reader through the history, theory and practice of urban design. The reader is initially introduced to those classic writings that provide the historical precedents for city-making into the twentieth century. Part Two introduces the voices and ideas that were instrumental in establishing the foundations of the urban design field from the late 1950s up to the mid-1990s. These authors present a critical reading of the design professions and offer an alternative urban design agenda focused on vital and lively places. The authors in Part Three provide a range of urban design rationales and strategies for reinforcing local physical identity and the creation of memorable places. These selections are largely describing the outcomes of mid-century urban design and voicing concerns over the placeless quality of contemporary urbanism. The fourth part of the Reader explores key issues in urban design and development. Ideas about sprawl, density, community health, public space and everyday life are the primary focus here. Several new selections in this part of the book also highlight important international development trends in the Middle East and China. Part Five presents environmental challenges faced by the built environment professions today, including recent material on landscape urbanism, sustainability, and urban resiliency. The final part examines professional practice and current debates in the field: where urban designers work, what they do, their roles, their fields of knowledge and their educational development. The section concludes with several position pieces and debates on the future of urban design practice. This book provides an essential resource for students and practitioners of urban design, drawing together important but widely dispersed writings. Part and section introductions are provided to assist readers in understanding the context of the material, summary messages, impacts of the writing, and how they fit into the larger picture of the urban design field.

Provides a comprehensive and detailed historical account of design from prehistory to the end of the twentieth century.

What do things mean? What does the life of everyday objects reveal about people and their material worlds? Has the quest for 'the real thing' become so important because the high-tech world of total virtuality threatens to engulf us? This pioneering book bridges design theory and anthropology to offer a new and challenging way of understanding the changing meanings of contemporary human-object relations. The act of consumption is only the starting point of object's “lives”. Thereafter they are transformed and invested with new meanings and associations that reflect and assert who we are. Defining designed things as “things with attitude” differentiates the highly visible fashionable object from ordinary aretefacts that are too easily taken for granted. Through case studies ranging from reproduction furniture to fashion and textiles to 'clutter', the author traces the connection between objects and authenticity, ephemerality and self-identity. Beyond this, she shows the materiality of the everyday in terms of space, time and the body and suggests a transition with the passing of time from embodiment to disembodiment.

Design, History and Time reflects on the nature of time in relation to design, in both past and contemporary contexts. In contrast to a traditional design historical approach which emphasises schools and movements, this volume addresses time as a continuum and considers the importance of temporality for design practice and history. Contributors address how designers, design historians and design thinkers might respond to the global challenges of time, the rhythms of work, and the increasing speed of life and communication between different communities. They consider how the past informs the present and the future in terms of design; the importance of time-based design practices such as rapid prototyping and slow design, time in relation to memory and forgetting, and artefacts such as the archive for which time is key, and ponder the design of time itself. Showcasing the work of fifteen design scholars from a range of international contexts, the book provides an essential text for thinking about changing attitudes to the temporal.