Extraordinary architecture addresses so much more than mere practical considerations. It inspires and provokes while creating a seamless experience of the physical world for its users. It is the rare writer that can frame the discussion of a building in a way that allows the reader to see it with new eyes. Writing About Architecture is a handbook on writing effectively and critically about buildings and cities. Each chapter opens with a reprint of a significant essay written by a renowned architecture critic, followed by a close reading and discussion of the writer's strategies. Lange offers her own analysis using contemporary examples as well as a checklist of questions at the end of each chapter to help guide the writer. This important addition to the Architecture Briefs series is based on the author's design writing courses at New York University and the School of Visual Arts. Lange also writes a popular online column for Design Observer and has written for Dwell, Metropolis, New York magazine, and The New York Times. Writing About Architecture includes analysis of critical writings by Ada Louise Huxtable, Lewis Mumford, Herbert Muschamp, Michael Sorkin, Charles Moore, Frederick Law Olmsted, and Jane Jacobs. Architects covered include Marcel Breuer, Diller Scofidio + Renfro, Field Operations, Norman Foster, Frank Gehry, Frederick Law Olmsted, SOM, Louis Sullivan, and Frank Lloyd Wright.

For ages, architects have been criticized for speaking an insular language, known to some as "archispeak." Writing Architecture considers the process, methods, and value of architecture writing based on Carter Wiseman’s 30 years of personal experience in writing, editing, and teaching in young architects how to write. This book creatively tackles a problematic issue that Wiseman considers to be a crucial characteristic of successful architecture writing: clarity of thinking and expression. He argues that because we live our lives within the built environment, architecture is the most comprehensive and complex of all art forms. Even brilliantly inspired and complex architectural structures would only amount to misunderstood abstractions without the support and reinforcement of the clear explanation. Written as a primer for both college level students and practitioners, Writing Architecture acknowledges and explores the boundaries between different techniques of architecture writing from myriad perspectives and purposes. A poetic description of the beauty and impact of a bridge will not illuminate the mechanical knowledge housed in the structure, but at the same time, dense architectural theory will not encourage individuals experiencing and supporting the bridge to perceive significance and usefulness in the design. Using excerpts and from writers in different genres and from different historical periods, Wiseman offers a unique and authoritative perspective on comprehensible writing skills needed for success.

Essays at the intersection of philosophy and architecture explore how we understand and inhabit space. To be outside allows one a fresh perspective on the inside. In these essays, philosopher Elizabeth Grosz explores the ways in which two disciplines that are fundamentally outside each another—architecture and philosophy—can meet in a third space to interact free of their internal constraints. "Outside" also refers to those whose voices are not usually heard in architectural discourse but who inhabit its space—the destitute, the homeless, the sick, and the dying, as well as women and minorities. Grosz asks how we can understand space differently in order to structure and inhabit our living arrangements accordingly. Two themes run throughout the book: temporal flow and sexual specificity. Grosz argues that time, change, and emergence, traditionally viewed as outside the concerns of space, must become more integral to the processes of design and construction. She also argues against architecture's historical indifference to sexual specificity, asking what the existence of (at least) two sexes has to do with how we understand and experience space. Drawing on the work of such philosophers as Henri Bergson, Roger Caillois, Gilles Deleuze, Jacques Derrida, Luce Irigaray, and Jacques Lacan, Grosz raises abstract but nonformalistic questions about space, inhabitation, and building. All of the essays propose philosophical experiments to render space and building more mobile and dynamic.

Drawings, doodles, and ideograms argue with ferocity and wit for traditional urbanism and architecture. Architect Léon Krier's doodles, drawings, and ideograms make arguments in images, without the circumlocutions of prose. Drawn with wit and grace, these clever sketches do not try to please or flatter the architectural establishment. Rather, they make an impassioned argument against what Krier sees as the unquestioned doctrines and unacknowledged absurdities of contemporary architecture. Thus he shows us a building bearing a suspicious resemblance to Norman Foster's famous London “gherkin” as an example of “priapus hubris” (threatened by detumescence and “priapus nemesis”); he charts “Random Uniformity” (“fake simplicity”) and “Uniform Randomness” (“fake complexity”); he draws bloated “bulimic” and disproportionately scrawny “anorexic” columns flanking a graceful “classical” one; and he compares “private virtue” (modernist architects' homes and offices) to “public vice” (modernist architects' “creations”). Krier wants these witty images to be tools for re-founding traditional urbanism and architecture. He argues for mixed-use cities, of “architectural speech” rather than “architectural stutter,” and pointedly plots the man-vehicle-landneed ratio of “sub-urban man” versus that of a city dweller. In an age of energy crisis, he writes (and his drawings show), we “build in the wrong places, in the wrong patterns, materials, densities, and heights, and for the wrong number of dwellers”; a return to traditional architectures and building and settlement techniques can be the means of ecological reconstruction. Each of Krier's provocative and entertaining images is worth more than a thousand words of theoretical abstraction.

Architectural form reconsidered in light of a unitary conception of architecture and the city. In The Possibility of an Absolute Architecture, Pier Vittorio Aureli proposes that a sharpened formal consciousness in architecture is a precondition for political, cultural, and social engagement with the city. Aureli uses the term absolute not in the conventional sense of “pure,” but to denote something that is resolutely itself after being separated from its other. In the pursuit of the possibility of an absolute architecture, the other is the space of the city, its extensive organization, and its government. Politics is agonism through separation and confrontation; the very condition of architectural form is to separate and be separated. Through its act of separation and being separated, architecture reveals at once the essence of the city and the essence of itself as political form: the city as the composition of (separate) parts. Aureli revisits the work of four architects whose projects were advanced through the making of architectural form but whose concern was the city at large: Andrea Palladio, Giovanni Battista Piranesi, Étienne Louis-Boullée, and Oswald Mathias Ungers. The work of these architects, Aureli argues, addressed the transformations of the modern city and its urban implications through the elaboration of specific and strategic architectural forms. Their projects for the city do not take the form of an overall plan but are expressed as an “archipelago” of site-specific interventions.

A history of the influence of communication technologies on Western architectural theory. The discipline of architecture depends on the transmission in space and time of accumulated experiences, concepts, rules, and models. From the invention of the alphabet to the development of ASCII code for electronic communication, the process of recording and transmitting this body of knowledge has reflected the dominant information technologies of each period. In this book Mario Carpo discusses the communications media used by Western architects, from classical antiquity to modern classicism, showing how each medium related to specific forms of architectural thinking. Carpo highlights the significance of the invention of movable type and mechanically reproduced images. He argues that Renaissance architectural theory, particularly the system of the five architectural orders, was consciously developed in response to the formats and potential of the new printed media. Carpo contrasts architecture in the age of printing with what preceded it: Vitruvian theory and the manuscript format, oral transmission in the Middle Ages, and the fifteenth-century transition from script to print. He also suggests that the basic principles of "typographic" architecture thrived in the Western world as long as print remained our main information technology. The shift from printed to digital representations, he points out, will again alter the course of architecture.

This important book by Klaske Havik participates in the growing conversation about the relationships between natural (metaphoric) language and architecture. Understanding the primacy of the relationships between language and design in continuity to phenomenology’s living bodily consciousness, she distances herself from previous semiotic and poststructuralist positions. The book offers valuable insights into the possibilities of literary language to generate more poetic and culturally significant environments.