This book explores the notion of mapping in architectural discourse. First locating, positioning and theorizing mapping, it then makes explicit the relationship between research and design in architecture through cartography and spatial analysis. It proposes three distinct modalities: tool, operation and concept, showing how these methods lead to discursive aspects of architectural work and highlighting mapping as an instrument in developing architectural form. It emphasizes the importance of place and time as fundamental terms with which to understand the role of mapping. An investigation into architectural discourse, this book will appeal to academics and researchers within the discipline with a particular interest in theory, history and cartography.

The book tackles a number of challenging questions: How can we conceptualize architectural objects and practices without falling into the divides architecture/society, nature/culture, materiality/meaning? How can we prevent these abstractions from continuing to blind architectural theory? What is the alternative to critical architecture? Mapping controversies is a research method and teaching philosophy that allows divides to be crossed. It offers a new methodology for following debates surrounding contested urban knowledge. Engaging in explorations of on-going and recent controversies and re-visiting some well-known debates, the analysis foregrounds, traces and maps the changing sets of positions triggered by design: the 2012 Olympics stadium in London, the Welsh parliament in Cardiff, the Heathrow airport runway extension, the Sydney Opera House, the Eiffel Tower. By mobilizing digital technologies and new computational design techniques we are able to visualize the variety of factors that impinge on design and track actors' trajectories, changing groupings, concerns and modalities of action. The book places architecture at the intersection of the human and the nonhuman, the particular and the general. It allows its networks to be re-established and to run between local and global, social and technical. Mapping controversies can be extrapolated to a wide range of complex phenomena of hybrid nature.

How did terms like “Asia,” “Eurasia,” “Indochina,” “Pacific Rim” or “Australasia” originate and evolve, and what are their connections to the built environment? In addressing this question,Architecturalized Asia bridges the fields of history and architecture by taking “Asia” as a discursive structure and cultural construct, whose spatial and ideological formation can be examined through the lenses of cartography, built environments, and visual narratives. The first section, on the study of architecture in Asia from the medieval through early modern periods, examines icons and symbols in maps as well as textual descriptions produced in Europe and Asia. The second section explores the establishment of the field of Asian architecture as well as the political and cultural imagining of “Asia” during the long nineteenth century, when “Asia” and its regions were redefined in the making of modern world maps mainly produced in Europe. The third section examines tangible structures produced in the twentieth century as legible documents of these notional constructions of Asia. In exploring the ways in which “Asia” has been drawn and framed both within and without the continent, this volume offers cutting-edge scholarship on architectural history, world history and the history of empires. Written by architectural historians and historians specializing in Asia and European empires, this unique volume addresses the connection between Asia and the world through the lenses of built environments and spatial conceptualizations. Architecturalized Asiawill appeal to readers who are interested in Asian architecture, world architecture, Asian history, history of empires, and world history.

This book describes and explores the linguistic metaphors used by architects to assess design solutions in building reviews, and the conceptual mappings that motivate them. The genre perspective adopted throughout the work offers a view of figurative language that considers its use in the discussion of architectural topics in a real communicative situation involving specific participants, clear rhetorical goals and recognisable textual artefacts. The book thus combines a genre approach to texts with a cognitive view of metaphor. It further aims to restore as the centre of attention the linguistic and textual aspects of metaphor as an instrument of both cognition and communication. The theoretical implications of the applied cognitive approach to metaphor adopted in the book are twofold. First, a situated description of how metaphor is used in a particular genre provides rich detail about its rhetorical potential. The second important contribution made by this study is to provide a fuller account of image metaphor, a type of mapping which is very salient in this particular genre. The weight given to visual metaphors in architectural discourse allows a fuller consideration of the cognitive and communicative import of a class of metaphor often regarded as marginal or ad hoc in cognitive linguistics, and the book thus contributes to a better understanding of this phenomenon in the context of a genre characterised by its concern with the visual aspects of architectural design. In this sense, the empirical data offered by a particular research methodology contributes to theory formation, and will prove of interest to cognitive linguists as well as to discourse analysts or genre researchers.

Unlike the many magazines that revolve around the architectural world, Ardeth concerns neither with outcomes (architecture) nor with the authors (architects). Ardeth concerns instead with their operational work, i.e. projects. The shift from subjects (their good intentions, as taught in Universities and reclaimed in the profession) to objects (the products of design, at work within the social system that contains them) engenders an analytical and falsifiable elaboration of the complex mechanisms that an open practice such as design involves. Through a process of disciplinary redefinition, Ardeth explores the falsifiability of design hypotheses as the object that allows the project to scientifically confront errors and approximations.

What can you do with a degree in architecture? Where might it take you? What kind of challenges could you address? Architects After Architecture reframes architecture as a uniquely versatile way of acting on the world, far beyond that of designing buildings. In this volume, we meet forty practitioners through profiles, case studies, and interviews, who have used their architectural training in new and resourceful ways to tackle the climate crisis, work with refugees, advocate for diversity, start tech companies, become leading museum curators, tackle homelessness, draft public policy, become developers, design videogames, shape public discourse, and much more. Together, they describe a future of architecture that is diverse and engaged, expanding the limits of the discipline, and offering new paths forward in times of crisis. Whether you are an architecture student or a practicing architect considering a change, you’ll find this an encouraging and inspiring read. Please visit the Architects After Architecture website for more information, including future book launches and events: architectsafterarchitecture.com

Atlas of Emotion is a highly original endeavour to map a cultural history of spatio-visual arts. In an evocative montage of words and pictures, emphasises that "sight" and "site" but also "motion" and "emotion" are irrevocably connected. In so doing, Giuliana Bruno touches on the art of Gerhard Richter and Annette Message, the film making of Peter Greenaway and Michelangelo Antonioni, the origins of the movie palace and its precursors, and her own journeys to her native Naples. Visually luscious and daring in conception, Bruno opens new vistas and understandings at every turn.