Routledge Research in Architecture - Böcker

Luigi Moretti: Lessons of SPAZIO focuses on the theoretical work of the Italian architect Luigi Moretti (Rome, 1906–1973). It does so selectively, focusing on the editorials he published between 1950 and 1953 as editor-in-chief of the magazine SPAZIO, as well as a further essay on parametric architecture, published in 1971–1972, in the first issue of the magazine MOEBIUS, directed by his friend Giulio Roisecco.This book rediscovers Moretti's personal impact on international architectural theory through thoughtful comments that shed light on the architect's modernity and original approach. Although Moretti is an architect renowned for his projects and buildings, his theoretical essays are less well-known. The aim of this book is therefore to explore Moretti's theoretical work, which covers many topics, including pictorial art, sculpture, architecture, urban planning, music, cinema, poetry, mathematics, computer science, parametricity. In addition to the translation from Italian to English, the book contains reproductions of the original articles, accompanied by a series of essays of critical commentary and updated interpretations that show new ways of approaching, reading, and understanding the foundations of current architectural theory and its progress over the last 50 years. This book approaches Moretti's thought from a new perspective, with the aim of reconsidering the originality of this brilliant and visionary architect who was intellectually ostracised for many years due to political and ideological contingencies, even though he personified the ideal of the 'Renaissance man' in modern times.A re-reading of Moretti's work is more justified today than has ever been before, both to reconnect the threads with contemporaneity and to make his intensity and farsightedness of vision known to researchers, teachers, and students working in the areas of architecture and design theory, technology, and art today.

Artistic Migration: Reframing Post-War Italian Art, Architecture, and Design in Brazil investigates a selection of works by Italian artists and architects, and an art critic and dealer, who immigrated to Brazil after World War II, and were involved in the first activities and opportunities created by the São Paulo Museum of Art (MASP).Although foreigners, these experts, namely Bramante Buffoni, Roberto Sambonet, Lina Bo Bardi, Giancarlo Palanti, and Pietro Maria Bardi, were engaged in the construction of paths for Brazilian art, architecture, and design, in production marked by the intertwining of artistic disciplines. By examining the works produced between 1946 and 1991, and focusing on the relationship between art and architecture, with previously unexplored cases, the text investigates how these actors engaged in the dilemmas of Brazilian culture and became part of its invention. The intention is to understand the nature and meaning of this recognizable experience, the continuities of and ruptures from modern architectural, art and design ideals, pre-war experience, and immigration, illuminating a complex framework of relationships with local ideas.The approach and the extensive archival research in Italy and Brazil adopted for the book sheds new light on critically rethinking and reframing Italian and Brazilian cultural events, and will be of interest to architects, researchers, teachers, and students interested in the history of architecture, museums, design, and art.

Ugly, Useless, Unstable Architectures traces productive intersections between architecture and the discourses of Post-Structuralism and New Materialism. It investigates how their unique ‘ontological regimes’ can be mobilised to supersede the classical framework that still informs both the production and the evaluation of architecture. Throughout its three main chapters, this enquiry challenges one of the most prevalent tropes of architectural assessment: Beauty, Utility and Stability. Author Miguel Paredes Maldonado critically unpacks the spatial and operational qualities of these three idealised concepts, before setting out an alternative framework of spatial practice that draws from Gilles Deleuze’s post-structuralist take on the production of the real and Manuel DeLanda’s model-based branch of New Materialism. This book reads and situates a series of spatial works through the lens of this critical methodology to contest the conceptual aspects traditionally underpinning architectural ‘value’. It posits that architecture can operate as a continuous, generative spectrum encompassing a broad range of potential configurations. Written for academics and students in architectural theory, design and contemporary philosophical thought alike, this book should appeal to a wide audience.

Ethical Design Intelligence: The Virtuous Designer explores the deep significance of philosophy and ethics to the practice of design. It offers designers from disciplines such as architecture, urban design, planning, landscape, interior, and industrial design an alternative ethical framework in which to expand their thinking about their practice.Arguing that design today is primarily an agency driven by the momentum of globalization, embedded in economy, materialism, and utility, the book reconceptualizes the notion of virtue in design practice. Across chapters covering topics such as virtuous character, creative agency, and unsustainable practices, the book scrutinizes design through a philosophical lens.d’Anjou dissects articulations from different philosophical thinkers from antiquity to contemporary time to reveal that ethics is fundamental to everything affected by design. Countering well-established modes of postmodern relativism in design, which has led to “defuturing” and “unsustainability,” ethical realism is presented as an alternative solution. This book is written for designers, educators, researchers, and students.

This book follows Henry Klumb’s life in architecture from Cologne, Germany to Puerto Rico. Arriving on the island, Klumb was a one-time German immigrant, a moderately successful designer, and previously a senior draftsman with Frank Lloyd Wright.Over the next forty years Klumb would emerge as Puerto Rico’s most prolific, locally well-known, and celebrated modern architect. In addition to becoming a leading figure in Latin American modern architecture, Klumb also became one of Frank Lloyd Wright’s most accomplished protégés, and an architect with a highly attuned social and environmental consciousness. Cruz explores his life, works, and legacy through the lens of a sense of place, defined as the beliefs that people adopt, actions undertaken, and feelings developed towards specific locations and spaces. He argues that the architect’s sense of place was a defining quality of his life and work, most evident in the houses he designed and built in Puerto Rico.Puerto Rico’s Henry Klumb offers a historical narrative, culminating in a series of architectural analyses focusing on four key design strategies employed in Klumb’s work: vernacular architecture, the grid and the landscape, dense urban spaces, and open air rooms. This book is aimed at researchers, academics, and postgraduate students interested in Latin American architecture, modernism, and architectural history.

This book examines the central decades of Peter Eisenman’s work through a formal and thematic analysis of key architectural projects and writings, revealing underlying characteristics and arguing for their productive continuity and transformative role.The book explores Eisenman’s approach to architectural form generation and thinking. It does this through a thematic and formal analysis of projects and writings from the mid-1970s to the mid-1990s. Following an introductory chapter addressing the theme of potentialities, the book is organised in two parts. The first part focuses on key period writings of Eisenman, framing the close reading around a practice of resistance, the architect’s approach to history as analysis, and the transformative conceptualisation of time. In the second part, the book undertakes an analysis of select projects from the 1980s and 1990s. Three formal preoccupations and conceptual orientations – ground manipulations, figuration, and spatial events – organise this part of the book. Previously unpublished material from the Peter Eisenman fonds, Canadian Centre for Architecture, Montréal, provides primary source material. A concluding chapter addresses Eisenman’s teaching, its relation to his larger project, and possible legacies for educators, practitioners, scholars, and theorists.

Vast sums of money spent to design, construct, and maintain museum additions demand great accountability of museum leaders and design professionals towards visitors and employees. Museum visitors today come not only to view works of art, but also to experience museum architecture itself, resulting in most major cities competing to build new museum additions or new museum buildings to become world class tourist destinations. Shedding New Light on Art Museum Additions presents post-occupancy evaluations of four high-profile museums and their additions in the United States and helps museum stakeholders understand their successes, shortcomings, and how their designs affect both visitors and employees who use them every day. The book helps decision-makers assess the short-term and long-term impacts of future proposals for new museum additions and illuminates the critical importance of investing in employee work environments, and giving serious consideration to lighting, wayfinding, accessibility, and the effects of museum fatigue that arise from the lack of public amenities.Museum leaders, curators, architects, designers, consultants, patrons of the arts and museum visitors will find this book to be a useful resource when planning and evaluating new building additions.

The human body has been used as both a model and metaphor in architecture since antiquity. This book explores how it has been an inspiration for the exterior form of architectural colossi through the years. It considers the body as a source of architectural and artistic representation and in doing so explores the results of such practices in colossal sculptures and architectural praxis within a philosophical discourse of space, time and media.Architectural Colossi and the Human Body discusses the role of Platonic and Cartesian philosophy and how philosophers such as Heidegger and Merleau-Ponty, and theoreticians such as Frascari and Pallasmaa, have seen, described and analysed the human body and the role of architecture and perception. Drawing upon three key case studies and by employing theoretical ideas of Venturi and others, this book will provide an understanding of the role of anthromorphism and the relation and use of the human body with reference to selected architects and artists.

Between 1918 and 1933 the German interwar avant-garde was a primary force driving European cultural innovation and modernism. These innovations continue to influence artistic practice, theory, and arts education today, thus making a comprehensive study of the relationship between individual war experience and the immediate response of avant-garde architects after the war all the more important.The Break with the Past pursues several important, interrelated questions. What were the disparate war experiences of German architects, and did they have different effects on Weimar cultural production? Did political orientation play a part in support for the war? In aesthetic choices? What changes occurred in avant-garde architectural practice after 1918? How do they compare with pre-war positions and practices, and expectations for post-war outcomes? In order to address these questions, the book uses individual case studies of four leading architects: Bruno Taut, Walter Gropius, Erich Mendelsohn, and Hans Scharoun.This is a valuable resource for academics and students in the areas of Art and Architecture History, German history and Cultural Studies, European Culture and Modernism.

With increases in global temperatures, the risk of overheating is expected to rise around the world. This results in a much higher dependency upon energy-intensive cooling systems and air-conditioners to provide thermal comfort, but how sustainable is this in a world where problems with the production of electricity are predicted?Vernacular houses in hot and dry central Iran have been adapted to the climate through passive cooling techniques, and this book provides a valuable assessment of the thermal performance of such housing. Shedding new light on the ability of traditional housing forms to provide thermal comfort, Thermal Comfort in Hot Dry Climates identifies the main cooling systems and methods in traditional houses in central Iran, and examines how architectural elements such as central courtyards, distinct seasonal rooms, loggias, basements and wind-catchers can contribute to the provision of thermal comfort in vernacular houses.

Worship Sound Spaces unites specialists from architecture, acoustic engineering and the social sciences to encourage closer analysis of the sound environments within places of worship. Gathering a wide range of case studies set in Europe, Asia, North America, the Middle East and Africa, the book presents investigations into Muslim, Christian and Hindu spaces. These diverse cultural contexts demonstrate the composite nature of designing and experiencing places of worship. Beginning with a historical overview of the three primary indicators in acoustic design of religious buildings, reverberation, intelligibility and clarity, the second part of this edited collection offers a series of field studies devoted to perception, before moving onto recent examples of restoration of the sound ambiances of former religious buildings. Written for academics and students interested in architecture, cultural heritage, acoustics, sensory studies and sound.The multimedia documents of this volume may be consulted at the address: https://frama.link/WSS

This book provides a compelling and insightful portrait of ten female architects, artists, and designers who explored unique approaches to teaching, practice, and research in the postindustrial city of Detroit. These women explored the phenomenon of a new “ecological urbanism” through their own work in art, architecture, design, planning, landscape architecture, and installation as well as the work of their students.Teaching and Designing in Detroit provides an eighteen-year snapshot of this work, how it affected the women’s practice, how they influenced student relationships to design and community development, and how their visions are now being carried out in Detroit. This book is organized into sections that group stories according to their focus on practice, pedagogy, and community engagement.Included in the book is a foreword by Leslie Kanes Weisman, the only female architecture professor at the University of Detroit Mercy in the 1970s, and an afterword by Sharon Egretta Sutton reflecting on how working and practicing in Detroit foreshadowed the future vision now being carried out in the rebounding city of Detroit. An intriguing read for students and professionals, this book will illustrate how these lessons learned can be applied by universities and communities in other postindustrial cities.

Buildings Used takes the reader on an exploration into the impact of use on buildings and users. While most histories and theories of architecture focus on a building’s conception, design, and realization, this book argues that its identity is formed after its completion through use; and that the cultural and psychological effects of its use on those inhabiting it are profound. Across eight investigative chapters, authors Nora Lefa and Pavlos Lefas propose that use should not be understood merely as function. Instead, this book argues that we also use buildings by creating, destroying or appropriating them, and discusses a series of philosophical, cultural and design issues related to use. Buildings Used would appeal to students and scholars in architectural theory, history and cultural studies.

This book traces the ideal of total environmental control through the intellectual and geographic journey of Knud Lönberg- Holm, a forgotten Danish architect who promoted a unique systemic, cybernetic, and ecological vision of architecture in the 1930s. A pioneering figure of the new objectivity and international constructivism in Germany in 1922 and a celebrated peer of radical figures in De Stijl, the Bauhaus, and Russian constructivism, when he emigrated to Detroit in 1923 he introduced the vanguard theory of productivism through his photography, essays, designs, and pedagogy. By following Lönberg- Holm’s ongoing matrix of relations until the postwar era with the European vanguards in CIAM and former members of the Structural Study Associates (SSA), especially Fuller, Frederick Kiesler, and C. Theodore Larson, this study shows how their definition of building as a form of environmental control anticipated the contemporary disciplines of industrial ecology, industrial metabolism, and energy accounting.

This book examines architecture, image, and media relationships as productive for architecture and architectural discourses. By arguing that the relationships between architecture and media cannot be dismissed via linear criticism of architecture and media or image, these relations are instead seen as a part of a sphere (a mediasphere) of complex relationships. In lieu of anything like a consensus on the contemporary condition of architecture (referring to the late twentieth and the twenty-first centuries), the starting point of this book is that the relationships between architecture, media, and images continue to multiply, owing to continuous technological advancements.Contemporary architecture considered in this book is related to the selected circumstances of high visibility, where architectural images are propelled into visibility and conflated with non-architectural images. This takes architecture outside of architectural-only discourse and into the public realm. By granting higher visibility to both the architectural images and architecture in the public realm, architecture can also be influenced by the various perceptions of the general public and can enter public consciousness via non-architectural media. With increased visibility, architecture’s far-reaching presence calls for more structured analysis of its nature and potential. As the analysed architecture in this book is associated with the discourses outside of architecture (some of which relate to terrorism, natural disaster, and branding and consumption), the limits of contemporary architectural discipline are questioned and extended.This book is written for academics and students in architectural history, theory, and criticism, particularly those interested in visual and media studies.

Writing Architecture in Modern Italy tells the history of an intellectual group connected to the small but influential Italian Einaudi publishing house between the 1930s and the 1950s. It concentrates on a diverse group of individuals, including Bruno Zevi, an architectural historian and politician; Giulio Carlo Argan, an art historian; Italo Calvino, a fiction writer; Giulio Einaudi, a publisher; and Elio Vittorini and Cesare Pavese, both writers and translators. Linking architectural history and historiography within a broader history of ideas, this book proposes four different methods of writing history, defining historiographical genres, modes, and tones of writing that can be applied to history writing to analyze political and social moments in time. It identifies four writing genres: myths, chronicles, history, and fiction, which became accepted as forms of multiple postmodern historical stories after 1957. An important contribution to the architectural debate, Writing Architecture in Modern Italy will appeal to those interested in the history of architecture, history of ideas, and architectural education.

How does industrial design operate outside of capitalist consumer culture? Designing for Socialist Need assembles a detailed picture of industrial design practice in the socialist German Democratic Republic (GDR). Drawing on much previously unexplored material from a wide variety of sources, it not only maps out some of the ideological, institutional and economic contexts within which GDR design functioned, it also critically reconstructs the designers’ aims and perspectives in order to argue that they shared a profoundly socially responsible approach to design. By focusing on their ideas and approaches, this volume attends to the previously unacknowledged intellectual and practical richness of GDR design culture and demonstrates that it can provide pertinent insights not only for scholars of GDR history or German design, but also for contemporary design practitioners, theorists and educators with an interest in sustainability in design.

This book explores the relationship between architecture, government and fire. It posits that, through the question of fire-safety standardisation, building design comes to be both a problem for, and a tool of, government. Through a close study of fire-safety standards it demonstrates the shaping effect that architecture and the city have on the way we think about governing.Opening with an investigation into the Grenfell Tower fire and the political actors who sought to enrol it in programmes of governmental reform before contextualising the research in current literature, the book takes four city studies, each beginning with a specific historic fire: The 1654 Great Fire of Meirecki, Edo; the 1877 town fire of Lagos; the 1911 Empire Palace Theatre fire, Edinburgh; and the 2001 World Trade Centre attack, New York. Each study identifies the governmental response to the fire, safety standards and codes designed in its wake and how these new processes spread and change.Drawing on the work of sociologists John Law and Anne Marie Mol and their concept of ‘Fire Space’, it describes the way that architectural design, through the medium of fire, is an instrument of political agency. Pyrotechnic Cities is a critical investigation into these political implications, written for academics, researchers and students in architectural history and theory, infrastructure studies and governance.

Architects care. It is foundational and germane to the discipline and practice of architecture. This book charts the way the Arts and Crafts Movement established the moral ethos of ‘an architecture of care’ that not only remains embedded in current discourse and practice but also that is being given a more vocal presence in our climate-crisis and social justice world. By way of ‘genealogical strands’ the book charts the origin of ‘architecture of care’ ideas in the Arts and Crafts Movement and their impact on the ‘other progeny’ architectural projects in South Africa over the past hundred years. These range from the translation of inglenooks into an armature architecture of ‘Dignified Places’ in Cape Town’s townships to the ethos of ‘upliftment’ and care that translates from Octavia Hill through to ‘correcting’ building regulations and eventually finding a less moralising and more transformative impact in the ‘Hostels to Homes’ project. The birth of design through context and climate in the Arts and Crafts Movement is demonstrated by the shift in South African houses from boxy cottages to solar- and nature-oriented ribbon plans as demonstrated through the work of Helmut Stauch and Norman Eaton. The dislocation of Arts and Crafts ideas to the Cape also demonstrated a limit to the valorising of vernacular architecture and its ‘against-globalization’ building materials whereby English architects promoted Cape Dutch settler architecture and denigrated African vernacular architecture. As a final ‘genealogical strand,’ the book demonstrates the coherence of moral instrumentality with the animism and affects potential of handmade buildings. Written for academics, students and researchers interested in architectural history, it is an eye-opening investigation into the role of architecture in society.

Mies at Home is a radical rereading of one of the most significant periods in Mies van der Rohe’s career, from the mid- to late 1920s when he was developing his seminal spatial ideas— ideas that would culminate in his celebrated design of the Tugendhat House. The book examines how Mies’s experience of residing in his apartment, doubling as a studio, in central Berlin had an impact on his spatial concepts. It uncovers one of the most profound but virtually untold aspects of Mies’s development: how his visions of an ideal lifestyle came out of his own living experience and how they, in turn, informed his domestic architecture. Mies’s quest featured two breakthroughs. In the Weissenhof apartment building, he conveyed a flexible and manifold lifestyle that many of the avant-garde artists, including himself, were practicing. Later, in the Tugendhat House, he put forward an alternative way of living that centered on contemplation.Beautifully illustrated throughout, Mies at Home offers a fresh investigation of the diverse intentions and strategies the architect used in creating his iconic open spaces. It will be an insightful read for researchers, academics, and students in architectural history and theory.

In this book, Tsiambaos redefines the ground-breaking theory of Greek architect and town planner Constantinos A. Doxiadis (The Form of Space in Ancient Greece) and moves his thesis away from antiquity and ancient architecture, instead arguing that it can only be understood as a theory founded in modernity. In light of this, the author explores Doxiadis’ theory in relation to the work of the controversial Greek architect Dimitris Pikionis. This parallel investigation of the philosophical content of Doxiadis’ theory and the design principles of Pikionis’ work establishes a new frame of reference and creates a valuable and original interpretation of their work. Using innovative cross-disciplinary tools and methods which expand the historical boundaries of interwar modernism, the book restructures the ground of an alternative modernity that looks towards the future through a mirror that reflects the ancient past.From Doxiadis’ Theory to Pikionis’ Work: Reflections of Antiquity in Modern Architecture is fascinating reading for all scholars and students with an interest in modernism and antiquity, the history and theory of architecture, the history of ideas and aesthetics or town planning theory and design.

The relationship of architecture to the human body is a centuries-long and complex one, but not always symmetrical. This book opens a space for historians of the visual arts, archaeologists, architects, and digital humanities professionals to reflect upon embodiment, spatiality, science, and architecture in premodern and modern cultural contexts. Architecture and the Body, Science and Culture poses one overarching question: How does a period’s understanding of bodies as objects of science impinge upon architectural thought and design? The answers are sophisticated, interdisciplinary explorations of theory, technology, symbolism, medicine, violence, psychology, deformity, and salvation, and they have unexpected and fascinating implications for architectural design and history. The new research published in this volume reinvigorates the Western survey-style trajectory from Archaic Greece to post‐war Europe with scientifically‐framed, body‐centred provocations. By adding the third factor—science—to the architecture and body equation, this book presents a nuanced appreciation for architectural creativity and its embeddedness in other sets of social, institutional and political relationships. In so doing, it spatializes body theory and ties it to the experience of the built environment in ways that disturb traditional boundaries between the architectural container and the corporeally contained.

The Architecture of Medieval Churches investigates the impact of affective theology on architecture and artefacts, focusing on the Middle Ages as a period of high achievement of this synthesis. It explores aspects of medieval church and cathedral architecture in relation to the contemporary metaphysics and theology, which articulated an integrated theocentric culture, architecture, and art. Three modes of attention: comprehension, instruction, and contemplation, informed the builders’ intuition and intention. The book’s central premise reasons that love for God was the critical force in the creation of vernacular church architecture, using a selection of medieval writings to provide a unique critique of the genius of architecture and art during this period. An interdisciplinary study between architecture, theology, and philosophy, it will appeal to academics and researchers in these fields.

This book investigates the design, operation and use of contemporary transportable buildings, and explores how functional performance can be assessed in small-scale examples for public use alongside their relationship to other design elements. The research focuses on three case studies, Chengdu Hualin Elementary School, Exxopolis and Kreod, that do not require a high-technology building environment or complex construction skills. Transportable buildings are defined as those that are transported in a number of parts for assembly on site. Contemporary transportable buildings respond to ecological issues, social impacts, technological innovation and economic demands. They can be used to measure a society’s development in environmental sustainability, innovation and economic growth through various forms. Small-scale transportable buildings fulfil many temporary habitation needs in diverse roles, such as non-emergency transitional housing, ephemeral exhibition buildings and seasonal entertainment facilities. Small-Scale Public Transportable and Pre-Fabricated Buildings will be a useful research text for academics and students in architecture, design and sustainable building performance.

Architectures of Transversality investigates the relationship between modernity, space, power, and culture in Iran. Focusing on Paul Klee’s Persian-inspired miniature series and Louis Kahn’s unbuilt blueprint for a democratic public space in Tehran, it traces the architectonics of the present as a way of moving beyond universalist and nationalist accounts of modernism. Transversality is a form of spatial production and practice that addresses the three important questions of the self, objects, and power. Using Deleuzian and Heideggerian theory, the book introduces the practices of Klee and Kahn as transversal spatial responses to the dialectical tension between existential and political territories and, in doing so, situates the history of the silent, unrepresented and the unbuilt – constructed from the works of Klee and Kahn – as a possible solution to the crisis of modernity and identity-based politics in Iran.

A History of Design Institutes in China examines the intricate relationship between design institutes, the state, and, in later periods, the market economy through a carefully situated discussion of significant theoretical and historical issues including socialist utopia, collective and individual design, structural transformation, and architectural exportation, amongst others. It shows how, over the past six decades, China’s design institutes have served the state’s strategy for socialist construction and urbanisation to create socioeconomic and cultural value. Through first-hand research, authors Xue and Ding reveal how the tensions between pragmatism, creativity, collaboration, and resistance have played a crucial role in defining architectural production. Appealing to academics, researchers, and graduate students, this book provides a much-needed contribution to the discourse on architectural history, building practices, and policymaking in contemporary China.

This book traces the development of John Hejduk’s architectural career, using the idea of "exorcism" to uncover his thought process when examining architectural designs. His work encouraged profound questioning on what, why and how we build, which allowed for more open discourse and enhance the phenomenology found in architectural experiences. Three distinct eras in his architectural career are applied to analogies of outlines, apparitions and angels throughout the book across seven chapters. Using these thematic examples, the author investigates the progression of thought and depth inside the architect’s imagination by studying key projects such as the Texas houses, Wall House, Architectural Masques and his final works. Featuring comments by Gloria Fiorentino Hejduk, Stanley Tigerman, Steven Holl, Zaha Hadid, Charles Jencks, Phyllis Lambert, Juhani Pallasmaa, Toshiko Mori and others, this book brings to life the intricacies in the mind of John Hejduk, and would be beneficial for those interested in architecture and design in the 20th century.

Kenosis Creativity Architecture locates and explores creativity’s grounding in the ancient concept of kenosis, the “emptying” that allows creativity to happen; that makes appearance possible.It concretises that grounding through architecture—a primal expression of human creativity—critically examining, for the first time, kenotic instantiations evidenced in four iconic, international projects; works by Kahn, Pei, Ando, and Libeskind. Then, in a final turn, the potentiality of architecture’s own emptying is probed. Architect and author Randall Lindstrom draws on Western and Eastern philosophy, including that of Heidegger, Levinas, Derrida, Vattimo, Nishida, and Nishitani, as well as on the theology of Christianity, Judaism, and aspects of Buddhism, Hinduism, and Islam. Every chapter expands the argument that, if responsiveness to our world is taken seriously—if proper and sustainable responses are to be realised—then a deeper understanding of creativity, and so kenosis, is essential.This book opens-up a way of thinking about creativity and humanity’s readiness to be creative. It thereby presents a crucial enquiry—at the nexus of architecture, philosophy, and theology—for researchers, graduate and postgraduate students, and practitioners alike.

Kenosis Creativity Architecture locates and explores creativity’s grounding in the ancient concept of kenosis, the “emptying” that allows creativity to happen; that makes appearance possible.It concretises that grounding through architecture—a primal expression of human creativity—critically examining, for the first time, kenotic instantiations evidenced in four iconic, international projects; works by Kahn, Pei, Ando, and Libeskind. Then, in a final turn, the potentiality of architecture’s own emptying is probed. Architect and author Randall Lindstrom draws on Western and Eastern philosophy, including that of Heidegger, Levinas, Derrida, Vattimo, Nishida, and Nishitani, as well as on the theology of Christianity, Judaism, and aspects of Buddhism, Hinduism, and Islam. Every chapter expands the argument that, if responsiveness to our world is taken seriously—if proper and sustainable responses are to be realised—then a deeper understanding of creativity, and so kenosis, is essential.This book opens-up a way of thinking about creativity and humanity’s readiness to be creative. It thereby presents a crucial enquiry—at the nexus of architecture, philosophy, and theology—for researchers, graduate and postgraduate students, and practitioners alike.