Jonathan Hale – författare

This edited collection addresses the vital role of the imagination in the critical interpretation of architectural representations. By challenging the contemporary tendency for computer-aided drawings to become mere ‘models’ for imitation in the construction of buildings, the articles explore the broader range of methods and meanings at stake in the creation and interpretation of architectural drawings, models, images and artefacts.These critical – and often practice-led – investigations are placed alongside a range of historical studies considering the development of representational techniques such as perspective, orthography and diagramming. By also addressing the use of visual representation in a number of related disciplines such as visual arts, film, performance and literature, the book opens up debates in architecture to important developments in other fields. This book is key reading for all students of architecture and architectural theory.

The philosophy of Maurice Merleau-Ponty (1908–1961) has influenced the design work of architects as diverse as Steven Holl and Peter Zumthor, as well as informing renowned schools of architectural theory, notably those around Dalibor Vesely at Cambridge, Kenneth Frampton, David Leatherbarrow and Alberto Pérez-Gómez in North America and Juhani Pallasmaa in Finland. Merleau-Ponty suggested that the value of people’s experience of the world gained through their immediate bodily engagement with it remains greater than the value of understanding gleaned through abstract mathematical, scientific or technological systems. This book summarizes what Merleau-Ponty’s philosophy has to offer specifically for architects. It locates architectural thinking in the context of his work, placing it in relation to themes such as space, movement, materiality and creativity, introduces key texts, helps decode difficult terms and provides quick reference for further reading.

The philosophy of Maurice Merleau-Ponty (1908–1961) has influenced the design work of architects as diverse as Steven Holl and Peter Zumthor, as well as informing renowned schools of architectural theory, notably those around Dalibor Vesely at Cambridge, Kenneth Frampton, David Leatherbarrow and Alberto Pérez-Gómez in North America and Juhani Pallasmaa in Finland. Merleau-Ponty suggested that the value of people’s experience of the world gained through their immediate bodily engagement with it remains greater than the value of understanding gleaned through abstract mathematical, scientific or technological systems. This book summarizes what Merleau-Ponty’s philosophy has to offer specifically for architects. It locates architectural thinking in the context of his work, placing it in relation to themes such as space, movement, materiality and creativity, introduces key texts, helps decode difficult terms and provides quick reference for further reading.

This edited collection addresses the vital role of the imagination in the critical interpretation of architectural representations. By challenging the contemporary tendency for computer-aided drawings to become mere ‘models’ for imitation in the construction of buildings, the articles explore the broader range of methods and meanings at stake in the creation and interpretation of architectural drawings, models, images and artefacts.These critical – and often practice-led - investigations are placed alongside a range of historical studies considering the development of representational techniques such as perspective, orthography and diagramming. By also addressing the use of visual representation in a number of related disciplines such as visual arts, film, performance and literature, the book opens up debates in architecture to important developments in other fields. This book is key reading for all students of architecture and architectural theory.

Over recent decades, many museums, galleries and historic sites around the world have enjoyed an unprecedented level of large-scale investment in their capital infrastructure, in building refurbishments and new gallery displays. This period has also seen the creation of countless new purpose-built museums and galleries, suggesting a fundamental re-evaluation of the processes of designing and shaping of museums.Museum Making: Narratives, Architectures, Exhibitions examines this re-making by exploring the inherently spatial character of narrative in the museum and its potential to connect on the deepest levels with human perception and imagination. Through this uniting theme, the chapters explore the power of narratives as structured experiences unfolding in space and time as well as the use of theatre, film and other technologies of storytelling by contemporary museum makers to generate meaningful and, it is argued here, highly effective and affective museum spaces. Contributions by an internationally diverse group of museum and heritage professionals, exhibition designers, architects and artists with academics from a range of disciplines including museum studies, theatre studies, architecture, design and history cut across traditional boundaries including the historical and the contemporary and together explore the various roles and functions of narrative as a mechanism for the creation of engaging and meaningful interpretive environments.

Over recent decades, many museums, galleries and historic sites around the world have enjoyed an unprecedented level of large-scale investment in their capital infrastructure, in building refurbishments and new gallery displays. This period has also seen the creation of countless new purpose-built museums and galleries, suggesting a fundamental re-evaluation of the processes of designing and shaping of museums.Museum Making: Narratives, Architectures, Exhibitions examines this re-making by exploring the inherently spatial character of narrative in the museum and its potential to connect on the deepest levels with human perception and imagination. Through this uniting theme, the chapters explore the power of narratives as structured experiences unfolding in space and time as well as the use of theatre, film and other technologies of storytelling by contemporary museum makers to generate meaningful and, it is argued here, highly effective and affective museum spaces. Contributions by an internationally diverse group of museum and heritage professionals, exhibition designers, architects and artists with academics from a range of disciplines including museum studies, theatre studies, architecture, design and history cut across traditional boundaries including the historical and the contemporary and together explore the various roles and functions of narrative as a mechanism for the creation of engaging and meaningful interpretive environments.

Housing and the City explores housing histories, theories, and projects in diverse geographies. It presents a geographically dispersed history of the twentieth-century modern housing project and its social diagram, juxtaposed with case studies from the past and the present that suggest that we can live and work differently. While the contributions are diverse in their theoretical approach and geographical situation, their juxtaposition yields transversal connections in the conception of the home and the city and highlights the diversity of architectural solutions in the formation of housing and its communities. The collection also reveals architecture’s contribution to the construction of the self and communities, the individual and the collective—as both urban spatial entities and socio-political concepts. Housing and the City provides essential reading for students, academics, and practitioners interested in the history, theory, or current design of housing. At a time when cities are witnessing new ways of working, changing social demographics, increased geographical mobility, and mass migrations, as well as the pervasive threat of the climate crisis—all trends exacerbated by the Covid-19 pandemic—Housing and the City presents a historical and theoretical reflection on the question: what does it mean to be at home in the city in the twenty-first century?

Housing and the City explores housing histories, theories, and projects in diverse geographies. It presents a geographically dispersed history of the twentieth-century modern housing project and its social diagram, juxtaposed with case studies from the past and the present that suggest that we can live and work differently. While the contributions are diverse in their theoretical approach and geographical situation, their juxtaposition yields transversal connections in the conception of the home and the city and highlights the diversity of architectural solutions in the formation of housing and its communities. The collection also reveals architecture’s contribution to the construction of the self and communities, the individual and the collective—as both urban spatial entities and socio-political concepts. Housing and the City provides essential reading for students, academics, and practitioners interested in the history, theory, or current design of housing. At a time when cities are witnessing new ways of working, changing social demographics, increased geographical mobility, and mass migrations, as well as the pervasive threat of the climate crisis—all trends exacerbated by the Covid-19 pandemic—Housing and the City presents a historical and theoretical reflection on the question: what does it mean to be at home in the city in the twenty-first century?

The Future of Museum and Gallery Design explores new research and practice in museum design. Placing a specific emphasis on social responsibility, in its broadest sense, the book emphasises the need for a greater understanding of the impact of museum design in the experiences of visitors, in the manifestation of the vision and values of museums and galleries, and in the shaping of civic spaces for culture in our shared social world.The chapters included in the book propose a number of innovative approaches to museum design and museum-design research. Collectively, contributors plead for more open and creative ways of making museums, and ask that museums recognize design as a resource to be harnessed towards a form of museum-making that is culturally located and makes a significant contribution to our personal, social, environmental, and economic sustainability. Such an approach demands new ways of conceptualizing museum and gallery design, new ways of acknowledging the potential of design, and new, experimental, and research-led approaches to the shaping of cultural institutions internationally.The Future of Museum and Gallery Design should be of great interest to academics and postgraduate students in the fields of museum studies, gallery studies, and heritage studies, as well as architecture and design, who are interested in understanding more about design as a resource in museums. It should also be of great interest to museum and design practitioners and museum leaders.

The Future of Museum and Gallery Design explores new research and practice in museum design. Placing a specific emphasis on social responsibility, in its broadest sense, the book emphasises the need for a greater understanding of the impact of museum design in the experiences of visitors, in the manifestation of the vision and values of museums and galleries, and in the shaping of civic spaces for culture in our shared social world.The chapters included in the book propose a number of innovative approaches to museum design and museum-design research. Collectively, contributors plead for more open and creative ways of making museums, and ask that museums recognize design as a resource to be harnessed towards a form of museum-making that is culturally located and makes a significant contribution to our personal, social, environmental, and economic sustainability. Such an approach demands new ways of conceptualizing museum and gallery design, new ways of acknowledging the potential of design, and new, experimental, and research-led approaches to the shaping of cultural institutions internationally.The Future of Museum and Gallery Design should be of great interest to academics and postgraduate students in the fields of museum studies, gallery studies, and heritage studies, as well as architecture and design, who are interested in understanding more about design as a resource in museums. It should also be of great interest to museum and design practitioners and museum leaders.