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When I first started researching the work of the Edwardian architect Horace Field (1861–1948), I soon realised that this was a man whose achievements could best be measured in terms quite antithetical to those conventionally used by architectural historians. Nearly all buildings are judged on the basis of their originality; and, if they are old, on the basis of their influence or their relationship to what subsequently became a significant direction in the arts or culture of their time. Even in a field such as the history of Victorian and Edwardian architecture, transformed by Mark Girouard and Alistair Service forty or more years ago, a story has only been worth telling when it is a story. If a collection of buildings adds up to very little, what then? Field's buildings are mostly incidental to other more interesting, more imaginative stories. Was he a failure, then, in designing buildings which fail to appear in their own right as part of a critical canon? Was he a failure too, in that his career started so promisingly and tailed away to nothing; that he was tucked away in rural Sussex, in Rye, fiddling about with old buildings and designing garages and cheap villas, while other architects of his generation spent their final years on some of the most enthralling projects of their lives? Or does the story of Field's career suggest that there are other ways to evaluate an architectural career than to tell the story of its conventionally-defined successes? [ABSTRACT FROM AUTHOR]

We gazed with earnest hope for signs of recovery and longed for the airwaves to tell us that ???the worst is past, economic Armageddon has been averted, and house prices are rising again???. What follows engages with debates on economic development and places the recent crisis in the architectural and building industry in historical context. It argues that it was irrational for architects and contractors to behave as if the boom would go on forever. Capitalist development has always been marked by periodic crises, and building production has always exhibited cycles of expansion and contraction. [ABSTRACT FROM AUTHOR]

The article offers information on the creation of Aalto atelier as a corporate masterpiece of Aino Marsio-Aalto, Elissa Aalto, and Alvar Aalto to identify specific skills and roles on the partners in Finland. It states that the atelier's interior architecture and materials are catered by Aino-Marsio's expertise while Alissa manages the artistic and managerial responsibility. Meanwhile, Alvar pronounces the prevailing characteritis of the atelier's intent and process.

The article focuses on the style and features of modern architecture. It mentions that modern architecture makes, use of reveal or shadow to mark joints. It mentions that reveal is a unique distinctive architectural shadow, and is a shadowed joint created by gaps, delineating seams and three-dimensional spaces. It further mentions that reveal or shadow to mark joints have received a mixed response from architects from around the globe. Some architects feel that the use of reveals must be stopped since it decay the quality of architectural design, construction and detailing.

The article focuses on the architectural projects which are considered to be catalysts for urbanization in Great Britain. It also discusses the Thames Barrier Park in the London Dockland, at London, England. According to architect Aldo Rossi, artifacts which aid in the process of growth and development of urban collections. It mentions that the Thames Barrier Park was developed by the London Docklands Development Corp. (LLDC), after the decline in industrialization and criticisms faced by LLDC regarding its urban planning projects.

The article focuses on the relevance of traditional designs in contemporary architectural practice in Turkey and all across the world. It mentions that with the changes in architectural styles and growing modernity, traditional designs and art has become a thing of the past and has lost its importance and significance. It also discusses an architect Le Corbusier's views on Turkish architecture. According to Corbusier, traditional designs loses its value when repeated and, hence, it should be used as an inspiration to develop a new design and art.

?Building Initiative? is both the name adopted by a collaborative group of architects, urbanists and artists, and also the term they use to describe the ?mode of agency? chosen to inform and realise citizen-led urban regeneration in Belfast [1]. The necessity and forms of this praxis evolved in response to the city's spatial, social and policy environment, and the inability of conventional mechanisms of architectural practice to engage adequately with this context. Building Initiative explored and pursued specific modes of agency, which it termed ?initiatives?, within a variety of sectors including architectural, planning, educational, academic and media, and at a range of scales from local to international. This created the opportunity to work with a diversity of partner organisations and to develop a correspondingly wide range of strategies. We will look briefly at the context of Belfast and Building Initiative's response to it, focusing specifically on the methods of working that were developed, before concentrating on one project to illustrate these methodologies and processes in application. [ABSTRACT FROM AUTHOR]

The article discusses the confusion surrounding the use of oblique and parallel projections through econometrics in the 21st century architecture. It aims to clarify the existing confusion concerning parallel projections outlined by oblique and axonometric projections as well its underlying spatial differences. It highlights the development of these applications based on different perspective, including the French, English and German. Moreover, the article explains how Auguste Choisy, an architectural historian, who was the first one to integrate these architectural theories into practice.

The article explains that the musical concepts of Luigi Nono, who was a close friend of the Venetian architect Carlo Scarpa, offers new insights into Scarpa's concepts about time in architectural conservation. It is observed that when Scarpa was asked for a plan to renovate the 14th-century Castelvecchio in Verona, he also considered the fourth dimension of time in addition to the usual three dimensions.

The article points out that the concept of "terrain vague," in Ignasi de Solà-Morales' architectural culture employs landscapes to represent urban politics. It is observed that the principles of indeterminacy, emptiness and occupation can be gleaned from the concept in the effort to develop principles for designing a city's public spaces.

Focuses on the collection of works of renowned architect and designer Joseph Urban in Brander Mathews Museum. View of Brander Matthews on theater study; Biographical information of Joseph Urban; Items include in Joseph Urban's collection.

Architects should learn to communicate more through their architecture. The commercial vernacular architecture of the American ‘strip’ – motels, gas stations, fast food outlets – communicates loud and clear. In comparison, high architecture, particularly the high architecture of Modernism, is sullen and silent. This, roughly, is the thesis of Learning from Las Vegas by Robert Venturi, Denise Scott Brown and Stephen Izenour (1972 and 1977), one of the key texts of the Post-Modernist movement in architectural theory of the early 1970s. Venturi et al thought architects could learn a lot about symbolism and communication from the sort of non-judgmental study of roadside architecture that their students had undertaken at Yale. In the second half of the book the idea was developed into a theory and encapsulated into a universal building concept, ‘the decorated shed’, which has since become a cliché of architectural criticism. The decorated shed was designed to overthrow the most cherished beliefs and rituals of Modernism. Expression through form was to be replaced by the ‘persuasive heraldry’ of the totem and the billboard; articulation of detail was to be replaced by old-fashioned applied ornament; and the ‘heroic and original’ was to be replaced by the ‘ugly and ordinary’. But the emphasis was on the decoration rather than the shed. Learning from Las Vegas did not have much to say about the way that the sheds of the commercial strip were constructed, other than describing them vaguely as ‘system built’, or about the implications that the technology of their construction might have for architectural practice. [ABSTRACT FROM AUTHOR]

There are many striking examples of Modernist buildings that house sculptures that are much more traditional than the architecture that surrounds them. To some extent these disparities can be explained by the uncontrolled installation of sculpture, the result either of a lack of concern on the part of the architect or of ignorance of what was to come. Of more interest here, however, is the deliberate positioning of 'non-Modernist' sculpture in Modernist buildings. To some extent such juxtapositions require that we reconsider our definition of Modern sculpture. Beyond this, we can ask what figurative sculpture gave abstract architects, and why they used it. [ABSTRACT FROM AUTHOR]

In recent years there has been mounting curiosity about how architects and engineers work with one another to make buildings. Studies of such collaborations have their present use for furthering technique and efficiency in construction. As a historical exercise, one might view the tendency as part of a broader, revisionist trend – an overdue project for setting the record straight, and releasing architecture from the velvet manacles of art history. Acquaintance with the making of any sizeable building soon teaches that the Vasarian concept of disegno – of a creative process anterior to and set apart from construction – suits only a minority of architecture's modes and moments. As an explanation even of the more imaginative paths that lead from the blank sheet to the occupied building, it is intellectually reductive, humanly ungenerous, and actually untruthful. [ABSTRACT FROM AUTHOR]

The author presents an analysis of "Louvre G372," by Penelope Painter in Akropolis. He stresses that Side B signifies the presentation of Athena's sacred olive tree in 479 BC following the burning of the temple of Athena Polias and Pandroseion by the Persians. These two figures that show the architects' tools suggest the participation of the architects in the reconstruction and redevelopment of Athena Polias and Pandroseion. On the other hand, Side A connotes the superhuman assistance provided, or to be provided, by Athena and Gugas to the architects. An overview of Painter's work is described.

For architects, intellectual property (IP) law is vital. Without it plans, building designs and models would have no value as others could copy them without payment. But what are an architect's rights and how are those rights retained in order to avoid commercial exploitation?The legislation for this area of law comes from the Copyright, Designs and Patents Act 1988 (CDPA), the Registered Designs Act 1949, the Trade Marks Act 1994 and the Patents Act 1977. IP itself is divided into those rights that are registrable at the Intellectual Property Office (IPO) and those that are not. Rights that must be registered before the work is protected include trademarks, patents and registered designs; IP rights that cannot be registered include copyright and unregistered design rights. [ABSTRACT FROM PUBLISHER]

A photograph by Robert Polidori, of a room within the city of Petra, shows a pristine cubic volume hewn out of the rock. The nature of the stone reveals different textural and figural qualities of the material when it becomes a floor, a wall or a ceiling. There is no need to ‘put’ the building together, to assemble it, because it is already exists. This, then, is the fantasy of the architect, to sculpt from a single substance that is both structure and surface, with the only remaining questions pertaining to shape and smoothness. [ABSTRACT FROM PUBLISHER]

arq's interview with Jack Pringle (6/3, pp104-106) puts a strong case for why the profession needs to engage with education and research, if it is to sustain a robust body of knowledge relevant to its clients' continuously changing demands. [ABSTRACT FROM AUTHOR]

The repercussions of the results of the UK Government's highly controversial 2000 Research Assessment Exercise (RAE) for architecture (arq 6/3, pp 203–207) continue to resonate. But this time the university architecture schools are not alone. For the first time ever, the RIBA, recognizing the seriousness of the situation for the profession, is giving architectural research the attention it deserves. Jack Pringle is masterminding the Institute's response. In late September, arq reminded him of his initial response to the RAE debacle (arq 6/3, pp 197–198), and asked him about current developments. [ABSTRACT FROM AUTHOR]

A letter to the editor is presented in response to the article on literature about architect Alvar Aalto by Harry Charrington in the September 2010 issue.

The article discusses various reports published within the issue including one about the monograph of a leading architect, one about architectural research, and one about the creativity of architects.

A letter to the editor is presented in response to an article about the involvement of architects on issues related to the profession.