- Table View
- List View
Whorephobia: Strippers on Art, Work, and Life
by Lizzie BordenIlluminating accounts of how stripping and sex work informs writers&’ experiences of friendship, motherhood, teaching, working, creating art, and activism.No one knows more than strippers about being looked at: as objects of desire, objects of curiosity, as angels or Jezebels or hookers with hearts of gold. In this anthology, twenty-three dancers whose careers span decades, geographies, and identities demand to be seen. Through stories from first nights on the job to the day they hung up their sky-high heels—or decided they never will—these writers offer glimpses into lives of camaraderie and celebration, joy, pride, despair, frustration, self-doubt, and fear. Their unfiltered perspectives on their lives, onstage and off, are a powerful counternarrative to the whorephobia that shrouds the conventional portrayals of strippers in crime movies, TV shows, music videos, newspaper articles, and legislative debates. Each of these illuminating essays and interviews peels away tired myths and salacious speculation and presents the naked truth: that sex work is real work and strippers are real people. Contributors:Cookie Mueller • Kathy Acker • Jo Weldon • Susan McMullen • Maggie Estep • Chris Kraus • Jodi Sh. Doff • Terese Pampellonne • Jill Morley • Susan Walsh • Debi Kelly Van Cleave • Elissa Wald • Essence Revealed • Sassy Penny • Jacq Frances • Reese Piper • Lindsay Byron • The Incredible, Edible Akynos • Antonia Crane • Lily Burana • A M Davies • Kayla Tange • Selena the Stripper
Whores and Other Feminists
by Jill NagleWhores and Other Feminists fleshes out feminist politics from the perspective of sex workers--strippers, prostitutes, porn writers, producers and performers, dominatrices--and their allies. Comprising a range of voices from both within and outside the academy, this collection draws from traditional feminisms, postmodern feminism, queer theory, and sex radicalism. It stretches the boundaries of contemporary feminism, holding accountable both traditional feminism for stigmatizing sex workers, and also the sex industry for its sexist practices.
Who’s 50: The 50 Doctor Who Stories to Watch Before You Die: An Unofficial Companion
by Robert Smith Graeme Burk<p>Ever since its premiere on November 23, 1963, Doctor Who has been a television phenomenon. This companion guide presents the top fifty stories from the show’s first fifty years—examining every corner of the imaginative, humorous, and sometimes scary universe that has made Doctor Who an iconic part of popular culture. <p>This must-have reference also includes behind the scenes details, goofs, trivia, connections to Doctor Who lore, and much more.</p>
Who's Afraid of Conceptual Art?
by Peter Goldie Elisabeth SchellekensWhat is conceptual art? Is it really a kind of art in its own right? Is it clever – or too clever? Of all the different art forms it is perhaps conceptual art which at once fascinates and infuriates the most. In this much-needed book Peter Goldie and Elisabeth Schellekens demystify conceptual art using the sharp tools of philosophy. They explain how conceptual art is driven by ideas rather than the manipulation of paint and physical materials; how it challenges the very basis of what we can know about art, as well as our received ideas of beauty; and why conceptual art requires us to rethink concepts fundamental to art and aesthetics, such as artistic interpretation and appreciation. Including helpful illustrations of the work of celebrated conceptual artists from Marcel Duchamp, Joseph Kosuth and Piero Manzoni to Dan Perjovschi and Martin Creed, Who’s Afraid of Conceptual Art? is a superb starting point for anyone intrigued but perplexed by conceptual art - and by art in general. It will be particularly helpful to students of philosophy, art and visual studies seeking an introduction not only to conceptual art but fundamental topics in art and aesthetics.
Who's Afraid of Contemporary Art?
by Kyung An Jessica CerasiA smart and playful introduction to the often-mystifying world of contemporary art What is contemporary art? What makes it contemporary? What is it for? And why is it so expensive? From museums and the art market to biennales and the next big thing, Who’s Afraid of Contemporary Art? offers concise and pointed insights into today’s art scene, decoding “Artspeak," explaining what curators do, demystifying conceptual art, exploring emerging art markets, and more. In this easy-to-navigate A to Z guide, the authors’ playful explanations draw on key artworks, artists, and events from around the globe, including how the lights going on and off won the Turner Prize, what makes the likes of Marina Abramovic and Ai Weiwei such great artists, and why Kanye West would trade his Grammys to be one. Packed with behind-the-scenes information and completely free of jargon, Who’s Afraid of Contemporary Art? is the perfect gallery companion and the go to guide for when the next big thing leaves you stumped.
Who's Who in The Archers 2011: An A-Z of Britain's Most Popular Radio Drama
by Graham HarveyNow fully updated, Who's Who in The Archers has become the indispensable companion to life in Britain's best-known village. Whether you need a quick run-down on a new character or a reminder about an on-going relationship, this handy guide is your first reference point. It'll tell you all you need to know about: Harry, the new milkman, who has wasted no time in getting himself noticed. The team running the new community shop. The unofficial "social club" founded by Eddie Grundy. Who lives at Grange Spinney.Each week five million listeners tune into the world's longest running drama series. Who's Who in The Archers will help keep you fully up-to-date on life in this ever-changing rural community. Whether you're a long-standing listener or a new-comer to Ambridge, this pocket guide is certain to add to your enjoyment.
Who's Who in The Archers 2012: An A-Z of Britain's Most Popular Radio Drama
by Graham HarveyThe insider's guide to Ambridge life is back for a special 60th Anniversary edition, fully-updated and packed with indispensable facts about the nation's favourite village. Whether it's information about an on-going relationship you're looking for - or a background briefing on a new character - Who's Who in The Archers is for you. Within these pages you'll find a wealth of essential detail about:The young entrepreneur whose business is "forging ahead"Members of the thriving Ambridge Book ClubThe threat to Pat's organic dairy businessThe wild food menu item that's causing ructions at The BullNow in its 60th glorious year, the world's longest running drama series is a part of national life. Whether you're a new-comer to the village or you've been visiting for years, you'll want to keep this handy-sized reference guide close by. Who's Who in The Archers is certain to help you enjoy Ambridge life to the full.
Who's Who in Contemporary World Theatre (Who's Who)
by Daniel Meyer-DinkgräfeWho's Who in Contemporary World Theatre is a lively and accessible biographical guide to the key figures in contemporary drama. All who enjoy the theatre will find their pleasure enhanced and their knowledge extended by this fascinating work of reference. Its distinctive blend of information, analysis and anecdote makes for entertaining and enlightening reading. Hugely influential innovators, household names, and a whole host of less familiar, international figures - all have their lives and careers illuminated by the clear and succinct entries. All professions associated with the theatre are represented here - actors and directors, playwrights and designers. By virtue of the broad range of its coverage, Who's Who in Contemporary World Theatre offers a unique insight into the rich diversity of international drama today.
Who's Who in the Archers 2009
by Keri DaviesNow in its tenth edition, Who's Who in the Archers has become a perennial favourite among the show's listeners. It's the first point of reference when those niggling questions arise, such as:How old is David Archer?What does Jessica do at Lower Loxley?Where does Derek Fletcher live?Who works at Jaxx Caff?This essential pocket guide provides an A-Z listing of the key characters and places from Britain's best loved, and most enduring, radio drama. It will help you master the intricate and tangled web of relations in Ambridge, uncover the secrets behind the most recent feuds and scandals, and gain insight into the most up-to-date happenings on the show.Complete with full Archer family tree and an index of character forenames, Who's Who in the Archers is an indispensable guide for long-standing fans and newcomers alike
Who's Your TV Alter Ego?
by Noah LuskyARE YOU A JERRY OR AN ELAINE?Or maybe you've been living life as a compulsive Monica, when all along there's a carefree Phoebe just waiting to get out? Now's your chance to learn the truth, without having to step foot inside a single comedy club or coffeehouse. Who's Your TV Alter Ego?will help you unearth your Simpsonssoul mate, inner desperate housewife, OCBFF, and much, much more. This is no trivia book: Who's Your TV Alter Ego?is like Mad Libs, the Cosmo Quiz, and a Rorschach blot all rolled into one, and can be played alone or with a live studio audience. More than fifty classic and contemporary hit TV shows are featured, each with a list of ten questions designed to playfully probe your innermost thoughts. Each quiz will match you -- or someone you know -- with a TV character and reveal the personality traits you share: the good, the bad, and the hilariously ugly. So put down the remote and pick up a pencil. This may well be the most important test you ever take. 52 tests in all, including the characters from: 52 TESTS IN ALL, INCLUDING THE CHARACTERS FROM:*Grey's Anatomy *Friends *Heroes *Project Runway *Sex and the City *24 *The Cosby Show *The Brady Bunch *The Sopranos *Star Trek *Gilligan's Island *Lost *Seinfeld ...AND ALL THE REST OF YOUR FAVORITES!
Who's Your TV Alter Ego?
by Noah LuskyARE YOU A JERRY OR AN ELAINE? Or maybe you've been living life as a compulsive Monica, when all along there's a carefree Phoebe just waiting to get out? Now's your chance to learn the truth, without having to step foot inside a single comedy club or coffeehouse. Who's Your TV Alter Ego? will help you unearth your Simpsons soul mate, inner desperate housewife, OC BFF, and much, much more. This is no trivia book: Who's Your TV Alter Ego? is like Mad Libs, the Cosmo Quiz, and a Rorschach blot all rolled into one, and can be played alone or with a live studio audience. More than fifty classic and contemporary hit TV shows are featured, each with a list of ten questions designed to playfully probe your innermost thoughts. Each quiz will match you -- or someone you know -- with a TV character and reveal the personality traits you share: the good, the bad, and the hilariously ugly. So put down the remote and pick up a pencil. This may well be the most important test you ever take. 52 tests in all, including the characters from: 52 TESTS IN ALL, INCLUDING THE CHARACTERS FROM: Grey's Anatomy Friends Heroes Project Runway Sex and the City 24 The Cosby Show The Brady Bunch The Sopranos Star Trek Gilligan's Island Lost Seinfeld ...AND ALL THE REST OF YOUR FAVORITES!
Whose Art Is It?
by Jane KramerWhose Art Is It? is the story of sculptor John Ahearn, a white artist in a black and Hispanic neighborhood of the South Bronx, and of the people he cast for a series of public sculptures commissioned for an intersection outside a police station. Jane Kramer, telling this story, raises one of the most urgent questions of our time: How do we live in a society we share with people who are, often by their own definitions, "different?" Ahearn's subjects were "not the best of the neighborhood." They were a junkie, a hustler, and a street kid. Their images sparked a controversy throughout the community--and New York itself--over issues of white representations of people of color and the appropriateness of particular images as civic art. The sculptures, cast in bronze and painted, were up for only five days before Ahearn removed them.This compelling narrative raises questions about community and public art policies, about stereotypes and multiculturalism. With wit, drama, sympathy, and circumspection, Kramer draws the reader into the multicultural debate, challenging our assumptions about art, image, and their relation to community. Her portrait of the South Bronx takes the argument to its grass roots--provocative, surprising in its contradictions and complexities and not at all easy to resolve.Accompanied by an introduction by Catharine R. Stimpson exploring the issues of artistic freedom, "political correctness," and multiculturalism, Whose Art Is It? is a lively and accessible introduction to the ongoing debate on representation and private expression in the public sphere.
Whose Culture?: The Promise of Museums and the Debate over Antiquities
by James CunoThe international controversy over who "owns" antiquities has pitted museums against archaeologists and source countries where ancient artifacts are found. In his book Who Owns Antiquity?, James Cuno argued that antiquities are the cultural property of humankind, not of the countries that lay exclusive claim to them. Now in Whose Culture?, Cuno assembles preeminent museum directors, curators, and scholars to explain for themselves what's at stake in this struggle--and why the museums' critics couldn't be more wrong. Source countries and archaeologists favor tough cultural property laws restricting the export of antiquities, have fought for the return of artifacts from museums worldwide, and claim the acquisition of undocumented antiquities encourages looting of archaeological sites. In Whose Culture?, leading figures from universities and museums in the United States and Britain argue that modern nation-states have at best a dubious connection with the ancient cultures they claim to represent, and that archaeology has been misused by nationalistic identity politics. They explain why exhibition is essential to responsible acquisitions, why our shared art heritage trumps nationalist agendas, why restrictive cultural property laws put antiquities at risk from unstable governments--and more. Defending the principles of art as the legacy of all humankind and museums as instruments of inquiry and tolerance, Whose Culture? brings reasoned argument to an issue that for too long has been distorted by politics and emotionalism. In addition to the editor, the contributors are Kwame Anthony Appiah, Sir John Boardman, Michael F. Brown, Derek Gillman, Neil MacGregor, John Henry Merryman, Philippe de Montebello, David I. Owen, and James C. Y. Watt.
Whose Green City?: Contested Urban Green Spaces and Environmental Justice in Northern Europe (Sustainable Development Goals Series)
by Bianka Plüschke-Altof Helen Sooväli-SeppingAgainst the backdrop of an accelerating global urbanization and related ecological, climatic or social challenges to urban sustainability, this book focuses on the access to “safe, inclusive and accessible green and public space” as outlined in United Nations’ Sustainable Development Goal No. 11. Looking through the lens of environmental justice and contested urban spaces, it raises the question who ultimately benefits from a green city development, and – even more importantly – who does not. While green space benefits are well-documented, green space provision is faced by multiple challenges in an era of urban neoliberalism. With their interdisciplinary and multi-method approach, the chapters in this book carefully study the different dimensions of green space access with particular focus on vulnerable groups, critically evaluate cases of procedural injustice and, in the case of Northern Europe that is often seen as forerunner of urban sustainability, provide in-depth studies on the contexts of injustices in urban greening. Chapters 1, 5, and 6 are available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.
Whose Heritage?: Challenging Race and Identity in Stuart Hall’s Post-nation Britain
by Ashley, Susan L.T Degna StoneThis edited collection challenges and re-imagines what is ‘heritage’ in Britain as a globalised, vernacular, cosmopolitan ‘post-nation’. It takes its inspiration from the foundational work of public intellectual Stuart Hall (1932–2014). Hall was instrumental in calling out embedded elitist conceptions of ‘The Heritage’ of Britain. The book’s authors challenge us to reconsider what is valued about Britain’s past, its culture and its citizens. Populist discourses around the world, including Brexit and ‘culture war’ declarations in the UK, demonstrate how heritage and ideas of the past are mobilised in racist politics. The multidisciplinary chapters of this book offer critical inspections of these politics and dig deeply into the problems of theory, policy and practice in today’s academia, society and heritage sector. The volume challenges the lack of action since Hall rebuked ‘The Heritage’ twenty years ago. The authors featured here are predominantly Black Britons, academics and practitioners engaged in culture and heritage, spurred by the killing of George Floyd and the rise of the Black Lives Matter movement to contest racist practices and structures that support them. This fact alone makes the volume a unique addition to the Routledge Museum & Heritage Studies repertoire. The primary audience will be academics, but it will also attract culture sector practitioners and heritage institutions. However, the book is particularly aimed at scholars and community members who identify as Black and are centrally concerned with questions of identity and race in British society. Its Open Access status will facilitate access to the book by all groups in society.
Whose Improv Is It Anyway?: Beyond Second City (Studies in Popular Culture Series)
by Amy E. SehamOn both sides of the stage improv-comedy's popularity has increased exponentially throughout the 1980s and '90s and into the new millennium. Presto! An original song is created out of thin air. With nothing but a suggestion from the audience, daring young improvisers working without a net or a script create hilarious characters, sketches, and songs. Thrilled by the danger, the immediacy, and the virtuosity of improv-comedy, spectators laugh and cheer. American improv-comedy burst onto the scene in the 1950s with Chicago's the Compass Players (best known for the brilliant comedy duo Mike Nichols and Elaine May) and the Second City, which launched the careers of many popular comedians, including Gilda Radner, John Belushi, and Mike Myers. Chicago continues to be a mecca for young performers who travel from faraway places to study improv. At the same time, the techniques of Chicago improv have infiltrated classrooms, workshops, rehearsals, and comedy clubs across North and South America, Europe, Australia, and Japan. Improv's influence is increasingly evident in contemporary films and in interactive entertainment on the internet. Drawing on the experiences of working improvisers, Whose Improv Is It Anyway? provides a never-before-published account of developments beyond Second City's mainstream approach to the genre. This fascinating history chronicles the origins of "the Harold," a sophisticated new "long-form" style of improv developed in the '80s at ImprovOlympic and details the importance and pitfalls of ComedySports. Here also is a backstage glimpse at the Annoyance Theatre, best known on the national scene for its production of The Real Live Brady Bunch. Readers will get the scoop on the recent work of players who, feeling excluded by early improv's "white guys in ties," created such independent groups as the Free Associates and the African American troupe Oui Be Negroes. There is far more to the art of improv than may be suggested by the sketches on Saturday Night Live or the games on Whose Line Is It Anyway? This history, an insider's look at the evolution of improv-comedy in Chicago, reveals the struggles, the laughter, and the ideals of mutual support, freedom, and openness that have inspired many performers. It explores the power games, the gender inequities, and the racial tensions that can emerge in improvised performance, and it shares the techniques and strategies veteran players use to combat these problems. Improv art is revealed to be an art of compromise, a fragile negotiation between the poles of process and product. The result, as shown here, can be exciting, shimmering, magical, and not exclusively the property of any troupe or actor.
Whose Land Is Our Land?: The Use and Abuse of Britain's Forgotten Acres
by Peter HetheringtonFood security and housing a nation with an expanding population should be key priorities for a small island like Britain. Yet both are being thwarted by record land prices. In the last 10 years, farm land has risen by almost 200% - with feeding the nation a secondary consideration to speculators buying up thousands of acres annually to avoid tax. If planning permission is given for new housing, prices can rise fifty-fold - making a vast profit for a few and home ownership a distant dream for many. In this provocative book, journalist Peter Hetherington argues that Britain, particularly England, needs an active policy to address these areas and stronger action by the government. This important debate will attract interest among academics and postgraduates in planning, surveying, housing management, rural policy and social policy, political organisations, the Third Sector, social enterprises, national housing organisations, community and voluntary groups.
Whose Public Space?: International Case Studies in Urban Design and Development
by Ali MadanipourPublic spaces mirror the complexities of urban societies: as historic social bonds have weakened and cities have become collections of individuals public open spaces have also changed from being embedded in the social fabric of the city to being a part of more impersonal and fragmented urban environments. Can making public spaces help overcome this fragmentation, where accessible spaces are created through inclusive processes? This book offers some answers to this question through analysing the process of urban design and development in international case studies, in which the changing character, level of accessibility, and the tensions of making public spaces are explored. The book uses a coherent theoretical outlook to investigate a series of case studies, crossing the cultural divides to examine the similarities and differences of public space in different urban contexts, and its critical analysis of the process of development, management and use of public space, with all its tensions and conflicts. While each case study investigates the specificities of a particular city, the book outlines some general themes in global urban processes. It shows how public spaces are a key theme in urban design and development everywhere, how they are appreciated and used by the people of these cities, but also being contested by and under pressure from different stakeholders.
Whose Tradition?: Discourses on the Built Environment
by Nezar AlSayyad Mark Gillem David MoffatIn seeking to answer the question Whose Tradition? this book pursues four themes: Place: Whose Nation, Whose City?; People: Whose Indigeneity?; Colonialism: Whose Architecture?; and Time: Whose Identity?Following Nezar AlSayyad’s Prologue, contributors addressing the first theme take examples from Indonesia, Myanmar and Brazil to explore how traditions rooted in a particular place can be claimed by various groups whose purposes may be at odds with one another. With examples from Hong Kong, a Santal village in eastern India and the city of Kuala Lumpur, contributors investigate the concept of indigeneity, the second theme, and its changing meaning in an increasingly globalized milieu from colonial to post-colonial times. Contributors to the third theme examine the lingering effects of colonial rule in altering present-day narratives of architectural identity, taking examples from Guam, Brazil, and Portugal and its former colony, Mozambique. Addressing the final theme, contributors take examples from Africa and the United States to demonstrate how traditions construct identities, and in turn how identities inform the interpretation and manipulation of tradition within contexts of socio-cultural transformation in which such identities are in flux and even threatened. The book ends with two reflective pieces: the first drawing a comparison between a sense of ‘home’ and a sense of tradition; the second emphasizing how the very concept of a tradition is an attempt to pin down something that is inherently in flux.
Whose Urban Renaissance?: An international comparison of urban regeneration strategies (Routledge Studies in Human Geography)
by Libby Porter Kate ShawThe desire of governments for a 'renaissance' of their cities is a defining feature of contemporary urban policy. From Melbourne and Toronto to Johannesburg and Istanbul, government policies are successfully attracting investment and middle-class populations to their inner areas. Regeneration - or gentrification as it can often become - produces winners and losers. There is a substantial literature on the causes and unequal effects of gentrification, and on the global and local conditions driving processes of dis- and re-investment. But there is little examination of the actual strategies used to achieve urban regeneration - what were their intents, did they 'succeed' (and if not why not) and what were the specific consequences? Whose Urban Renaissance? asks who benefits from these urban transformations. The book contains beautifully written and accessible stories from researchers and activists in 21 cities across Europe, North and South America, Asia, South Africa, the Middle East and Australia, each exploring a specific case of urban regeneration. Some chapters focus on government or market strategies driving the regeneration process, and look closely at the effects. Others look at the local contingencies that influence the way these strategies work. Still others look at instances of opposition and struggle, and at policy interventions that were used in some places to ameliorate the inequities of gentrification. Working from these stories, the editors develop a comparative analysis of regeneration strategies, with nuanced assessments of local constraints and counteracting policy responses. The concluding chapters provide a critical comparison of existing strategies, and open new directions for more equitable policy approaches in the future. Whose Urban Renaissance? is targeted at students, academics, planners, policy-makers and activists. The book is unique in its geographical breadth and its constructive policy emphasis, offering a succinct, critical and timely exploration of urban regeneration strategies throughout the world.
Why a Painting Is Like a Pizza: A Guide to Understanding and Enjoying Modern Art
by Nancy G. HellerThe first time she made a pizza from scratch, art historian Nancy Heller made the observation that led her to write this entertaining guide to contemporary art. Comparing modern art not only to pizzas but also to traditional and children's art, Heller shows us how we can refine analytical tools we already possess to understand and enjoy even the most unfamiliar paintings and sculptures. How is a painting like a pizza? Both depend on visual balance for much of their overall appeal and, though both can be judged by a set of established standards, pizzas and paintings must ultimately be evaluated in terms of individual taste. By using such commonsense examples and making unexpected connections, this book helps even the most skeptical viewers feel comfortable around contemporary art and see aspects of it they would otherwise miss. Heller discusses how nontraditional works of art are made--and thus how to talk about their composition and formal elements. She also considers why such art is made and what it "means." At the same time, Heller reassures those of us who have felt uncomfortable around avant-garde art that we don't have to like all--or even any--of it. Yet, if we can relax, we can use the aesthetic awareness developed in everyday life to analyze almost any painting, sculpture, or installation. Heller also gives concise answers to the eight questions she is most frequently asked about contemporary art--from how to tell when an abstract painting is right side up to which works of art belong in a museum. This book is for anyone who agrees with art critic Clement Greenberg that "All profoundly original art looks ugly at first." It's also for anyone who disagrees. It is for anyone who wants to get more out of a museum or gallery visit and would like to be able to say something more than just "yes" or "no" when asked if they like an artist's work.
Why Architects Matter: Evidencing and Communicating the Value of Architects
by Flora SamuelWhy Architects Matter examines the key role of research- led, ethical architects in promoting wellbeing, sustainability and innovation. It argues that the profession needs to be clear about what it knows and the value of what it knows if it is to work successfully with others. Without this clarity, the marginalization of architects from the production of the built environment will continue, preventing clients, businesses and society from getting the buildings that they need. The book offers a strategy for the development of a twenty-first-century knowledge-led built environment, including tools to help evidence, develop and communicate that value to those outside the field. Knowing how to demonstrate the impact and value of their work will strengthen practitioners’ ability to pitch for work and access new funding streams. This is particularly important at a time of global economic downturn, with ever greater competition for contracts and funds driving down fees and making it imperative to prove value at every level. Why Architects Matter straddles the spheres of ‘Practice Management and Law’, ‘History and Theory’, ‘Design’, ‘Housing’, ‘Sustainability’, ‘Health’, ‘Marketing’ and ‘Advice for Clients’, bringing them into an accessible whole. The book will therefore be of interest to professional architects, architecture students and anyone with an interest in our built environment and the role of professionals within it.
Why Architects Still Draw
by Paolo BelardiAn architect's defense of drawing as a way of thinking, even in an age of electronic media. Why would an architect reach for a pencil when drawing software and AutoCAD are a click away? Use a ruler when 3D-scanners and GPS devices are close at hand? In Why Architects Still Draw, Paolo Belardi offers an elegant and ardent defense of drawing by hand as a way of thinking. Belardi is no Luddite; he doesn't urge architects to give up digital devices for watercolors and a measuring tape. Rather, he makes a case for drawing as the interface between the idea and the work itself.A drawing, Belardi argues, holds within it the entire final design. It is the paradox of the acorn: a project emerges from a drawing—even from a sketch, rough and inchoate—just as an oak tree emerges from an acorn. Citing examples not just from architecture but also from literature, chemistry, music, archaeology, and art, Belardi shows how drawing is not a passive recording but a moment of invention pregnant with creative possibilities. Moving from the sketch to the survey, Belardi explores the meaning of measurement in a digital era. A survey of a site should go beyond width, height, and depth; it must include two more dimensions: history and culture. Belardi shows the sterility of techniques that value metric exactitude over cultural appropriateness, arguing for an “informed drawing” that takes into consideration more than meters or feet, stone or steel. Even in the age of electronic media, Belardi writes, drawing can maintain its role as a cornerstone of architecture.
Why Architects Still Draw
by Zachary Nowak Paolo BelardiWhy would an architect reach for a pencil when drawing software and AutoCAD are a click away? Use a ruler when 3D-scanners and GPS devices are close at hand? In Why Architects Still Draw, Paolo Belardi offers an elegant and ardent defense of drawing by hand as a way of thinking. Belardi is no Luddite; he doesn't urge architects to give up digital devices for watercolors and a measuring tape. Rather, he makes a case for drawing as the interface between the idea and the work itself. A drawing, Belardi argues, holds within it the entire final design. It is the paradox of the acorn: a project emerges from a drawing -- even from a sketch, rough and inchoate -- just as an oak tree emerges from an acorn. Citing examples not just from architecture but also from literature, chemistry, music, archaeology, and art, Belardi shows how drawing is not a passive recording but a moment of invention pregnant with creative possibilities. Moving from the sketch to the survey, Belardi explores the meaning of measurement in a digital era. A survey of a site should go beyond width, height, and depth; it must include two more dimensions: history and culture. Belardi shows the sterility of techniques that value metric exactitude over cultural appropriateness, arguing for an "informed drawing" that takes into consideration more than meters or feet, stone or steel. Even in the age of electronic media, Belardi writes, drawing can maintain its role as a cornerstone of architecture.
Why Architecture Matters
by Paul GoldbergerWhy Architecture Mattersis not a work of architectural history or a guide to the styles or an architectural dictionary, though it contains elements of all three. The purpose ofWhy Architecture Mattersis to "come to grips with how things feel to us when we stand before them, with how architecture affects us emotionally as well as intellectually"--with its impact on our lives. "Architecture begins to matter," writes Paul Goldberger, "when it brings delight and sadness and perplexity and awe along with a roof over our heads. " He shows us how that works in examples ranging from a small Cape Cod cottage to the "vast, flowing" Prairie houses of Frank Lloyd Wright, from the Lincoln Memorial to the highly sculptural Guggenheim Bilbao and the Church of Sant'Ivo in Rome, where "simple geometries . . . create a work of architecture that embraces the deepest complexities of human imagination. " Based on decades of looking at buildings and thinking about how we experience them, the distinguished critic raises our awareness of fundamental things like proportion, scale, space, texture, materials, shapes, light, and memory. Upon completing this remarkable architectural journey, readers will enjoy a wonderfully rewarding new way of seeing and experiencing every aspect of the built world.