The SAGE Handbook of Architectural Theory documents and builds upon some of the most innovative developments in architectural theory over the last two decades. Bringing into dialogue a range of geographically, institutionally and historically competing positions, the book examines and explores parallel debates in related fields. The book is divided into eight sections: Power/Difference/Embodiment Aesthetics/Pleasure/Excess Nation/Spectacle/Modernity History/Memory/Tradition Design/Practice/Production Technology/Science/Virtuality Nature/Landscape/Sustainability City/Metropolis/Territory Creating openings for future lines of inquiry and establishing the basis for new directions for education, research and practice, the book organizes itself around specific case studies to provide a critical, interpretive and speculative enquiry into the relevant debates in architectural theory. A methodical, authoritative and comprehensive addition to the literature, the Handbook is suitable for academics, researchers and practitioners in architecture, urban geography, cultural studies, sociology and geography.

"Offers an intense scholarly experience in its comprehensiveness, its variety of voices and its formal organization... the editors took a risk, experimented and have delivered a much-needed resource that upends the status-quo." - Architectural Histories, journal of the European Architectural History Network "Architectural theory interweaves interdisciplinary understandings with different practices, intentions and ways of knowing. This handbook provides a lucid and comprehensive introduction to this challenging and shifting terrain, and will be of great interest to students, academics and practitioners alike." - Professor Iain Borden, UCL Bartlett School of Architecture "In this collection, architectural theory expands outward to interact with adjacent discourses such as sustainability, conservation, spatial practices, virtual technologies, and more. We have in The Handbook of Architectural Theory an example of the extreme generosity of architectural theory. It is a volume that designers and scholars of many stripes will welcome." - K. Michael Hays, Eliot Noyes Professor of Architectural Theory, Harvard University The SAGE Handbook of Architectural Theory documents and builds upon the most innovative developments in architectural theory over the last two decades. Bringing into dialogue a range of geographically, institutionally and historically competing positions, it examines and explores parallel debates in related fields. The book is divided into eight sections: Power/Difference/Embodiment Aesthetics/Pleasure/Excess Nation/World/Spectacle History/Memory/Tradition Design/Production/Practice Science/Technology/Virtuality Nature/Ecology/Sustainability City/Metropolis/Territory. Creating openings for future lines of inquiry and establishing the basis for new directions for education, research and practice, the book is organized around specific case studies to provide a critical, interpretive and speculative enquiry into the relevant debates in architectural theory.

As the first comprehensive encyclopedic survey of Western architectural theory from Vitruvius to the present, this book is an essential resource for architects, students, teachers, historians, and theorists. Using only original sources, Kruft has undertaken the monumental task of researching, organizing, and analyzing the significant statements put forth by architectural theorists over the last two thousand years. The result is a text that is authoritative and complete, easy to read without being reductive.

"The Terry E. Hedrick, Leonard Bickman, and Debra J. Rog text provides a framework for designing research that is adaptable to almost any applied setting and constantly reiterates the need for establishing and maintaining credibility with the client at each level of the research process. Although the applied research book is a practical guide, suitable to accompany any thorough applied design textbook, it does a comprehensive job of presenting the distinction between basic and applied research. It introduces many topics found in the general methodology textbooks. This overlap will help students to feel comfortable in using the general skills in a more specific and complex manner." --Contemporary Psychology "For researchers needing to know how to plan and design applied research projects, Applied Research Design will be a most welcome publication. . . . The writing is clear and concise, graphics are utilized helpfully, and this book will be much appreciated by beginning social scientists who are serious but uncertain about the methodologies possible for doing applied research." --Academic Library Book Review Aimed at helping researchers and students make the transition from the classroom and the laboratory to the "real" world, the authors reveal pitfalls to avoid and strategies to undertake in order to overcome obstacles in the design and planning of applied research. Applied Research Design focuses on refining research questions when actual events force deviations from the original analysis. To accomplish this, the authors discuss how to study and monitor program implementation, statistical power analysis, and how to assess the human and material resources needed to conduct an applied research design to facilitate the management of data collection, analysis, and interpretation. Appropriate for professionals and researchers who have had some previous exposure to research methods, this book will enable the development of research strategies that are credible, useful, and--more important--feasible.

Building on the success of the bestselling The SAGE Handbook of Grounded Theory (2007), this title provides a much-needed and up-to-date overview, integrating some revised and updated chapters with new ones exploring recent developments in grounded theory and research methods in general. The highly-acclaimed editors have once again brought together a team of leading academics from a wide range of disciplines, perspectives and countries. This is a method-defining resource for advanced students and researchers across the social sciences. Part One: The Grounded Theory Method: 50 Years On Part Two: Theories and Theorizing in Grounded Theory Part Three: Grounded Theory in Practice Part Four: Reflections on Using and Teaching Grounded Theory Part Five: GTM and Qualitative Research Practice Part Six: GT Researchers and Methods in Local and Global Worlds

You can use this book to design a house for yourself with your family; you can use it to work with your neighbors to improve your town and neighborhood; you can use it to design an office, or a workshop, or a public building. And you can use it to guide you in the actual process of construction. After a ten-year silence, Christopher Alexander and his colleagues at the Center for Environmental Structure are now publishing a major statement in the form of three books which will, in their words, "lay the basis for an entirely new approach to architecture, building and planning, which will we hope replace existing ideas and practices entirely." The three books are The Timeless Way of Building, The Oregon Experiment, and this book, A Pattern Language. At the core of these books is the idea that people should design for themselves their own houses, streets, and communities. This idea may be radical (it implies a radical transformation of the architectural profession) but it comes simply from the observation that most of the wonderful places of the world were not made by architects but by the people. At the core of the books, too, is the point that in designing their environments people always rely on certain "languages," which, like the languages we speak, allow them to articulate and communicate an infinite variety of designs within a forma system which gives them coherence. This book provides a language of this kind. It will enable a person to make a design for almost any kind of building, or any part of the built environment. "Patterns," the units of this language, are answers to design problems (How high should a window sill be? How many stories should a building have? How much space in a neighborhood should be devoted to grass and trees?). More than 250 of the patterns in this pattern language are given: each consists of a problem statement, a discussion of the problem with an illustration, and a solution. As the authors say in their introduction, many of the patterns are archetypal, so deeply rooted in the nature of things that it seemly likely that they will be a part of human nature, and human action, as much in five hundred years as they are today.

What is the place of materiality—the expression or condition of physical substance—in our visual age of rapidly changing materials and media? How is it fashioned in the arts or manifested in virtual forms? In Surface, cultural critic and theorist Giuliana Bruno deftly explores these questions, seeking to understand materiality in the contemporary world. Arguing that materiality is not a question of the materials themselves but rather the substance of material relations, Bruno investigates the space of those relations, examining how they appear on the surface of different media—on film and video screens, in gallery installations, or on the skins of buildings and people. The object of visual studies, she contends, goes well beyond the image and engages the surface as a place of contact between people and art objects. As Bruno threads through these surface encounters, she unveils the fabrics of the visual—the textural qualities of works of art, whether manifested on canvas, wall, or screen. Illuminating the modern surface condition, she notes how façades are becoming virtual screens and the art of projection is reinvented on gallery walls. She traverses the light spaces of artists Robert Irwin, James Turrell, Tacita Dean, and Anthony McCall; touches on the textured surfaces of Isaac Julien’s and Wong Kar-wai’s filmic screens; and travels across the surface materiality in the architectural practices of Diller Scofidio + Renfro and Herzog & de Meuron to the art of Doris Salcedo and Rachel Whiteread, where the surface tension of media becomes concrete. In performing these critical operations on the surface, she articulates it as a site in which different forms of mediation, memory, and transformation can take place. Surveying object relations across art, architecture, fashion, design, film, and new media, Surface is a magisterial account of contemporary visual culture.