Through cross-disciplinary explorations of and engagements with nature as a forming part of architecture, this volume sheds light on the concepts of both nature and architecture. Nature is examined in a raw intermediary state, where it is noticeable as nature, despite, but at the same time through, man’s effort at creating form. This is done by approaching nature from the perspective of architecture, understood, not only as concrete buildings, but as a fundamental human way both of being in, and relating to, the world. Man finds and forms places where life may take place. Consequently, architecture may be understood as ranging from the simple mark on the ground and primitive enclosure, to the contemporary megalopolis. Nature inheres in many aesthetic forms of expression. In architecture, however, nature emerges with a particular power and clarity, which makes architecture a raw kind of art. Even though other forms of art, as well as aesthetic phenomena outside the arts, are addressed, the analogy to architecture will be evident and important. Thus, by using the concept of ’raw’ as a focal point, this book provides new approaches to architecture in a broad sense, as well as other aesthetic and artistic practices, and will be of interest to readers from different fields of the arts and humanities, spanning from philosophy and theology to history of art, architecture and music.

Through cross-disciplinary explorations of and engagements with nature as a forming part of architecture, this volume sheds light on the concepts of both nature and architecture. Nature is examined in a raw intermediary state, where it is noticeable as nature, despite, but at the same time through, man’s effort at creating form. This is done by approaching nature from the perspective of architecture, understood, not only as concrete buildings, but as a fundamental human way both of being in, and relating to, the world. Man finds and forms places where life may take place. Consequently, architecture may be understood as ranging from the simple mark on the ground and primitive enclosure, to the contemporary megalopolis. Nature inheres in many aesthetic forms of expression. In architecture, however, nature emerges with a particular power and clarity, which makes architecture a raw kind of art. Even though other forms of art, as well as aesthetic phenomena outside the arts, are addressed, the analogy to architecture will be evident and important. Thus, by using the concept of ’raw’ as a focal point, this book provides new approaches to architecture in a broad sense, as well as other aesthetic and artistic practices, and will be of interest to readers from different fields of the arts and humanities, spanning from philosophy and theology to history of art, architecture and music.

In this interdisciplinary work, philosophers from different specialisms connect with the notion of the wild today and interrogate how it is mediated through the culture of the Anthropocene. They make use of empirical material like specific artworks, films and other cultural works related to the term 'wild' to consider the aesthetic experience of nature, focusing on the untamed, the boundless, the unwieldy, or the unpredictable; in other words, aspects of nature that are mediated by culture. This book maps out the wide range of ways in which we experience the wildness of nature aesthetically, relating both to immediate experience as well as to experience mediated through cultural expression. A variety of subjects are relevant in this context, including aesthetics, art history, theology, human geography, film studies, and architecture. A theme that is pursued throughout the book is the wild in connection with ecology and its experience of nature as both a constructive and destructive force.

Acclaimed architect Renzo Piano's vision for the new California Academy of Sciences is one of hope and grand ambition: to create a model for sustainable design at an unprecedented scale. This is the story of an architectural masterpiece detailing the intricacies of form and function: its 2.5-acre rooftop garden, the 60,000 photovoltaic cells designed to power the building, and its use of natural light and ventilation. This celebratory book serves as both resource and reminder of how humans can live and work in harmony with nature.

"The relationship between contemporary architecture and nature is fundamental to today's creativity. Some architects reject nature or imagine that they can create an artificial world of their own - while others are seeking new ways, aided by science and the computer, to chart new directions for the buildings of tomorrow. From ecologically-oriented designs to the most astonishing new forms, this book shows how essential nature remains to architecture."--BOOK JACKET.

Architects have long operated based on the assumption that a building is 'complete' once construction has finished. Striving to create a perfect building, they wish for it to stay in its original state indefinitely, viewing any subsequent alterations as unintended effects or the results of degeneration. The ideal is for a piece of architecture to remain permanently perfect and complete. This contrasts sharply with reality where changes take place as people move in, requirements change, events happen, and building materials are subject to wear and tear. Rumiko Handa argues it is time to correct this imbalance. Using examples ranging from the Roman Coliseum to Japanese tea rooms, she draws attention to an area that is usually ignored: the allure of incomplete, imperfect and impermanent architecture. By focusing on what happens to buildings after they are ‘complete’, she shows that the ‘afterlife’ is in fact the very ‘life’ of a building. However, the book goes beyond theoretical debate. Addressing professionals as well as architecture students and educators, it persuades architects of the necessity to anticipate possible future changes and to incorporate these into their original designs.