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architectural design and practice

architectural design and practice

architectural design and practice

Live/Work

June 15, 2009 by Roy Johnson

working at home: living at work

Home office living isn’t new. It used to be called ‘living above the shop’. That was a vertical separation of living and working space. But many people are now doing the same thing horizontally, with a home office, split-use rooms, or garden shed workshops. Deborah Dietsch has assembled a collection projects where living and working environments have been merged, and the results prove that with imagination you can transform a house, a flat, or even an industrial site so that it becomes a very comfortable and attractive hybrid.

Home Office livingHer examples include the homes of architects, a painter, a photographer, a fashion designer, a dance tutor, a restaurateur, a documentary film maker, a physical trainer, even a priest marrying people out of his own home-church.

The examples are all very well photographed – but don’t just look at the pictures in this book. There are lots of excellent suggestions and topics of design theory in the text. For instance, she argues that you should plan with the future and multi-purpose use in mind. Your work annexe can easily double up as space for occasional guests, and if things go pear-shaped commercially, you might want to let off a room or even an entire floor to compensate for lost income.

One feature I found interesting is that in each case there’s a summary of what lessons can be learned from the project. These could be summarised as follows:

  1. Don’t be afraid of colour
  2. Find beauty in industrial details
  3. Rentals pay the mortgage
  4. Re-use space for different purposes
  5. Maintain a professional atmosphere
  6. Keep living and workspaces separate

This corresponds with my own personal philosophy from hours and hours of studying design magazines and architectural source materials – and it’s this. No matter how outlandish or peculiar a design scheme, no matter how unlike your own taste it might be – there’s always at least one thing you can take away as a positive or a good idea from somebody else’s work.

She even mentions two ideas in her introduction that I’ve done myself recently. You should create some sort of separate entrance so that clients or business visitors don’t have to traipse through your home living space; and it’s useful to have a separate table or conference arrangement so that you can arrange proper business meetings.

I can also confirm from personal experience that it’s a good idea to be near services – the post office, supermarket, restaurants, cafe bars – so that you don’t feel isolated if you are setting up as a sole trader.

Remember too that all these ideas are very green. If you live and work in the same space, you are not driving to work. Your carbon footprint is lower, and you can offset some of your expenditure against tax.

Of course, the success of such projects depends on where you currently live and the size of your budget for setting up a work environment. The budget could actually be zero – but this book will still give you plenty of ideas on how to arrange the space you’ve got to bring your life and work into some form of unified design.

© Roy Johnson 2008

Working at Home Buy the book at Amazon UK

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Deborah K. Dietsch, Live/Work – Working at Home, Living at Work, New York: Abrams, 2008, p.319, ISBN: 0810994003


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Filed Under: Architecture, Lifestyle Tagged With: Architecture, Home office, Homeworking, Interior design, Lifestyle, Live/Work

Living in Provence

July 19, 2009 by Roy Johnson

beautiful interiors and gardens from le midi

For anybody who knows Provence, the very names of the locations in this book seem like a musical evocation of the place: Roussillon, Eygaliers, Avignon, St Remy, Aix-en-Provence. And if you’ve been there you will know that Provence is a region drenched in warm colours, beautiful vegetation, soft contours, and rich textures – all of which are reflected in the traditional styles of the region. This photographic study of house interiors and gardens beautifully captures the magic of the place. I used to take my summer holidays there every year, and flicking through these pages made me yearn to go back to an almost heartbreaking extent.

Living in ProvenceThere are all sorts of locations featured – everything from chateaux, the Grand Hotel Nord-Pinus at Arles, Paul Cézanne’s atelier in Aix, via elegant town houses, to restored villas which have been transformed into interior spaces of great beauty. Yet for all the rich glamour, there is nothing snobby about the collection. It includes old farmhouses, a hotel in Noves whose walls haven’t been decorated since the seventeenth century, and a troglodytic cave-like lean-to built into the side of a hill.

Having said that, most of these gaffs are of course more expensive than you and I could ever afford – but I have trained myself to curb envy and just pick up design tips from people who can afford to do anything. The rules which emerge here are to use restrained background colours, plus natural textures in stone, wood, and fabrics. The way to create an elegant and calming atmosphere is to remove all the clutter from overcrowded rooms, and let the eye be soothed by just one or two well-chosen pieces.

Every page is rich in images of sun-soaked patios and gardens, swimming pools, marbelled and tiled floors, period furniture, wood panelling, beautiful engravings, and rustic pieces of earthenware.

The colour photography is good, the print production values are excellent, and the commentary is is produced in English, French, and German. As publishers, Taschen don’t provide a lot of text or technical details, but in terms of value-for-money and visual interest you could not go wrong with a book like this.

© Roy Johnson 2005

Living in Provence Buy the book at Amazon UK

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Barbara and Rene Stoeltie, Living in Provence, London: Taschen, 2005, pp.199, ISBN: 3822825271


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Filed Under: Architecture, Lifestyle Tagged With: Architecture, Interior design, Lifestyle, Living in Provence, Provence

Mediterranean Architecture

May 26, 2009 by Roy Johnson

glamorous contemporary European house designs

If you like looking at examples of beautiful mediterranean architecture, designer homes overlooking the sea, and experiments with shapes, materials, and domestic organisation – then this new book from Thames & Hudson is worth your consideration. It’s like A Place in the Sun on steroids. Dominic Bradbury has assembled mini-essays on twenty-five of the best in modern architect-designed houses.

Mediterranean Architecture They differ in their styles, but are united by their clean lines, open plan living, and a serious commitment to integration with their surroundings. The overall style, which might reflect the editor’s taste or might represent the movement of the current decade, is for buildings that are minimalist, rectangular, and low-rise. They must also blend sympathetically with their surroundings. Their materials have some relationship to the area in which they’re built, large plate-glass windows feature prominently, if possible reaching to the floor, and an infinity pool is a desirable extra.

A high proportion of the examples come from Spain. There’s quite a lot of cantilevering, flat roofing, sharp-edged, rectilinear profiles, and all the example shown rise to a maximum of three floors. There’s also a recurrent theme of contrasting textures – mahogany against raw concrete, polished steel and plate glass, water features and carefully arranged gravel pathways.

I liked the inclusion of small architectural plans, which help you to gain an overall perspective of the building in its geographical location. And visually, the book is a treat, with excellent photographs – even though their relatively small format made me hanker after something more grand.

bradbury_1

Of course, it has to be said that most of these buildings are situated in completely idyllic locations, set amidst rolling pine forests, overlooking sun-drenched harbours, and untroubled by any neighbours or industrial blots on their landscapes. But having said that, they represent what’s possible when an architect is commissioned by a client with enough money and sufficient confidence to allow free imaginative rein.

The locations range from Morocco in the west, via Spain and the Balearics, through Greece, to Turkey in the east. Yet many of the designers of these buildings come from places as far away from the Mediterranean as Paris and Brussels – though I suppose any architects worth their salt must have their practices located in big cities.

This is part way between a coffee table book, the text of which nobody (except design anoraks) will ever read, and a serious review of modern architecture. Dominic Bradbury seeks to point out what the designers are doing that’s original, and he has a sensiitive regard for his subject. Full contact details of the architects are listed, and a trawl through their web sites is like getting a trip through another book for free.

© Roy Johnson 2006

Mediterranean Modern Buy the book at Amazon UK

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Dominic Bradbury, Mediterranean Modern, London: Thames & Hudson, 2006, pp.256, ISBN 050034227X


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Modern Architecture: a critical history

August 12, 2010 by Roy Johnson

an illustrated history of architecture 1900-2000

This is a scholarly history of modern architecture which has gone through a number of editions and has been kept up to date with obvious enthusiasm from the author, who is an authority on the subject. Peter Frampton starts with three short chapters that give the historical background to the modern era. That is, the architectural thinking, urban planning, and the technological developments after 1750 that led to the twentieth century, when what we call modern began.

Modern ArchitectureThe narrative proper begins with the Arts and Crafts movement in England, then moves on to the Americans Louis Sullivan and Frank Lloyd Wright. Both of them started their careers in Chicago, which was rebuilding itself as a city following the Great Fire of 1871. Next comes Gaudi, who I had not realized was influenced by Ruskin, Richard Wagner, and the French architectural theorist Viollet-le-Duc.

I rather like Frampton’s approach of devoting one short chapter to each style or designer, because there is just enough to assimilate without being over faced, and the succinct form encourages comprehension of the subject.

The celebrated James Rennie McIntosh went from spectacular early success to a very sad late career decline and an end in near obscurity. This is surprising, given the enduring popularity of his work. It would seem that even architecture has its shooting stars.

There are chapters on the Vienna Secession and Italian futurism, and in addition to these movements he includes studies of individual designers such as Adolf Loos, Henry van der Velde, Tony Garnier, and Auguste Perret. Some of these movements produced more designs than finished buildings, but Frampton includes their plans on the grounds that some were more influential than completed projects.

It is interesting to note that almost all the architectural visionaries he discusses were politically radical and leftist of one stripe or another. But none of them was able to reconcile the fact that their most celebrated products as artists were beautifully luxurious homes for rich bourgeois patrons.

The Bauhaus and Neue Sachlichkeit movements generated some amazingly innovative designs and buildings, until the Stock Market collapse of 1929 and the political swing to the right caused many of its stars to flee both east and west (only the latter survived). It’s quite surprising that many of their buildings look remarkably similar to those being built in major western cities today, almost one hundred years later.

Frampton sees Le Corbusier as the most important figure of mid century modern architecture, though it should be kept in mind that many of the high-rise social housing projects built under his influence (with their disastrous elevated walkways, vandalized lifts, and rubbish-strewn communal areas) have since been demolished, not long after they were first built.

A chapter on Soviet architecture does its best to show radical ideas emerging from the early years of the Proletkult, but finally has to admit that all creativity was crushed by the dead hand of Stalinism from 1930 onwards.

The latter part of the book plots the development of those people he sees as seminal influences – Le Corbusier, Mies van der Rohe, Phillip Johnson, and Buckminster Fuller. And although he includes a chapter called ‘The New Brutalism’ which largely features the work of Alison and Peter Smithson in the UK, it’s fairly clear that this is precisely the sort of work which has given architecture and publicly commissioned work a bad name in the latter part of the last century.

For this fourth edition Kenneth Frampton has added a major new chapter that explores the effects of globalization on architecture in recent years, the rise of the celebrity architect, and the way in which practices worldwide have addressed such issues as sustainability and habitat. The bibliography has also been updated and expanded, making this volume more complete and indispensable than ever.

The book has a comprehensive critical apparatus and huge bibliography, but it would also benefit from a glossary of architectural jargon. I had to look up the meaning of terms such as trabeated. atectonic, entasis, celerestory, oneric, lithic and phalantsery. Be warned: it’s not an easy read, but it’s excellent value.

Modern Architecture Buy the book at Amazon UK

Modern Architecture Buy the book at Amazon US

© Roy Johnson 2010


Kenneth Frampton, Modern Architecture: a critical history, London: Thames and Hudson, 4th revised edn, 2000, pp.424, ISBN: 0500203954


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Filed Under: Architecture Tagged With: Architecture, Cultural history, Modern Architecture, Modernism, Technology

The Tradition of Constructivism

December 2, 2009 by Roy Johnson

documents, manifestos, and artistic policy statements

The tradition of constructivism began in Russia in 1920 following the Bolshevik revolution, as an attempt to define a new art for a new age and New Man. It spread to Germany, attaching itself to the Bauhaus movement, and then moved in the 1930s to France and Switzerland. In theory it continued after the second world war, but it was more evident in practice than in theoretical form, and it now finds modern reflections in the work of designers such as Neville Brody. The Tradition of Constructivism is a study of the entire moevement.

The Tradition of ConstructivismThis collection of manifestos, articles, and agit-prop documents represents the theoretical and propagandist side of the movement – and it must be said that it captures well the exuberance and desire to create something new which erupted from artists such as Naum Gabo, Vladimir Tatlin, El Lissitzsky, and Laszlo Moholy-Nagy. Editor Stephen Bann offers a prefatory essay, putting the documents into a historical context, and he supplies biographical notes to introduce each document, tracing the various intersections of the principle figures.

This was a movement which embraced many forms of art – painting, sculpture, typography, architecture, and photography – as well as what we would now call ‘mixed media’. The artists were keen to break with the romantic past, keen to embrace new technologies, new functionalism (useful art) and new abstractions. Many of them also held left-wing political views that harmonised well with the tenor of the early 1920s.

However, their theoretical writings are of a different order than the art works they produced. Many of their artistic manifestos and declarations of intent are couched in terribly abstract generalisations. Naum Gabo and Antoine Pevsner declare quite baldly in The Realistic Manifesto of 1920:

No new artistic system will withstand the pressure of a growing new culture until the very foundation of Art will be erected on the real laws of life.

And Alexei Gann is even more uncompromising in his proclamation Constructivism of 1922:

DEATH TO ART!

It arose NATURALLY

It developed NATURALLY

And disappeared NATURALLY

MARXISTS MUST WORK IN ORDER TO ELUCIDATE ITS DEATH SCIENTIFICALLY AND TO FORMULATE NEW PHENOMENA OF ARTISTIC LABOUR WITHIN THE NEW HISTORIC ENVIRONMENT OF OUR TIME.

Ironically, these radical attitudes gave the artists problems as soon as the official line in the Soviet Union changed abruptly from pro- to anti-modernism only a few years later under the rise of Stalin. It’s interesting to reflect that this form of argument in abstract generalisations, with no detailed examination of concrete examples, is precisely the rhetorical method which was to be used against these modernists by the apparatchicks of the Ministry of Culture from the late 1920s onwards.

The Zhdanhovs of this world didn’t sully their proclamations against ‘formalists’ and ‘decadents’ by anything so simple as the analysis of real works. For them, naming names or even just dropping hints was enough to send typographists, poets, and artists to the Gulag.

Rodchenko - photo designHowever, it should perhaps be remembered that many visual artists, from art-college onwards, come badly unstuck when it comes to expressing their ideas in words. That’s why theories of constructivism and any other movement should be founded on what is produced, not what is said. This is one of the weaknesses of extrapolating aesthetic theories from documents such as those reproduced here. Much huffing and puffing can be expended on whatever artists said about their art, rather than what they produced. But these are theories based on opinions rather than material practice.

This is a publication that is wonderfully rich in scholarly reference and support. There are full attributions for all the illustrations used, notes to the text, a huge bibliography, and full attributions for the sources of all the original documents reproduced. There are also some rather grainy black and white images of constructivist art, typography, and architecture which illustrate the fact that the imaginative products of these artists (irrespective of their sloganeering) was genuinely revolutionary.

Osip Brik - portrait by RodchenkoTaking a sympathetic attitude to the early efforts of these artists to develop a revolutionary approach to art, it’s interesting to note that they thought subjective individual expression ought to be replaced by collective works. They also fondly imagined that the working class would unerringly prefer the most imaginative and original works over traditional offerings. This was a period in which the term ‘easel painting’ was used in a tone of sneering contempt. The fact that they were largely ignored by the class for whom they thought they were fighting this aesthetic war in no way diminishes their achievements.

And occasionally nuggets of genuine insight emerge from all the generalizing dreck – as in Osip Brik’s observation regarding Rodchenko’s approach to constructivism:

The applied artist has nothing to do if he can’t embellish an object; for Rodchenko a complete lack of embellishment is a necessary condition for a proper construction of the object.

The documents span the period from the birth of constructivism in 1920 up to the post-war remnants of the movement. This is something of a special interest publication, but it’s well worth studying to understand the political and theoretical notions that provided the impetus behind an artistic endeavour which is still influential today. The theory might be dated, but constuctivist works of art are certainly not.

Constructivism Buy the book at Amazon UK

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© Roy Johnson 2009


Stephen Bann (ed), The Tradition of Constructivism, Da Capo Press, 1990, pp.334, ISBN 0306803968


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Filed Under: Architecture, Art, Design history Tagged With: Alexander Rodchenko, Constructivism, Cultural history, Design, Modernism, Russian modernism, The Tradition of Constructivism

Working at Home

June 7, 2009 by Roy Johnson

combining your office with your home – elegantly

Working at Home is the second book on the interior design of home office space I have recently consulted as research for a move to new office premises. Like the first, Working Spaces, it offers a powerfully stimulating set of examples, generated by people with imagination, flair, and in some cases, courage. If the selection of examples are typical of interior design today, the cities pushing this trend are New York, London, Berlin, Barcelona, and Tokyo.

Working at Home And the fashion is for old industrial spaces preserved for their high ceilings, big room spaces, and vast windows. In each case they have been transformed by adding luxury furnishings, yet the original features have been preserved – so that there at first appears to be a tension between domestic and commercial purposes. The examples show interior design solutions for writers, artists, musicians, architects, graphic designers, a printers, business people, and a textile designer. And in most cases the usual clutter which blights commercial offices has been purged – to good effect.

It has to be said that most of the samples illustrated are examples of minimalist design – plain walls and floors, no decoration, wood in teak or beech, lots of opaque tinted green glass, polished chrome fittings, simple halogen downlighters, chairs with tubular chrome legs, and giant settees in black leather.

There are architectural plans reproduced in each case which illustrate how the overall space has been used and how the parts relate to the whole.

One of the recurring features I spotted here was floors covered in epoxy resin – which results in a hard, shiny surface which is practical and easily cleaned. Not everybody would wish to settle down for a cozy evening in such surroundings – but the results look great.

What conclusions can be drawn from the examples on display? In almost all cases there are few decorations in the rooms: no pictures or shelves or decorative brackets. The rooms, with their pale walls and clutter-free surfaces are left to speak for themselves.

You might imagine that people working in the creative industries would want to decorate every inch of their surroundings with objects which expressed their tastes and cultural values. But the opposite appears to be the case. And these might indeed be shining examples illustrating Mies van der Rohe’s mantra – Less is More.

© Roy Johnson 2005

Home office Buy the book at Amazon UK

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Aurora Cuito, Working at Home, New York: Loftpublications, 2000, pp.175, ISBN 0823058700


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Filed Under: Architecture, Lifestyle Tagged With: Architecture, Design, Home office, Home working, Interior design, Lifestyle, Working at Home

Working Spaces

July 17, 2009 by Roy Johnson

interior design glamour for the home office

Lots of people work from home today. In the world of an email address, a broadband connection, and a laptop on your coffee table, nobody knows you’re a consultant dog on the Internet. But if it gets more serious and you want to establish a grown-up home office, you might want to create a professional workspace. Many people start from a small study or working in a corner of the spare room, but if your business grows, I guarantee you’ll feel more professional with a proper office. Working Spaces is packed with examples of how it can be done.

Working SpacesThis book is visual proof that you don’t need to be surrounded by empty cardboard boxes and metal filing cabinets. The examples illustrated include quite small family homes which have been adapted to the demands of creating a working space within a domestic environment. They also recognise that people working from confined spaces may need to put a single area to different uses at different times. A workaday meeting room might become a weekend lounge; or an office might need to be converted to accommodate guests from time to time.

What I admire about these Taschen publications is that although they have the outer glamour of coffee table luxury, they do in fact deal with real-life examples. There are plenty of cases here of one and two-roomed apartments which have been adapted to maximise space and preserve elegance, whilst at the same time functioning as proper offices with computers, storage for box files, and desks with telephones and wastebaskets.

The photography is superb throughout; the text is in English, French, and German; and every example is accompanied by architectural plans showing the floor layout. It’s also bursting with good space-saving ideas – foldaway beds; hinged partition screens; and lots of tables, chairs and bookshelves with wheels. Another common design feature if you’ve got the courage to try it is white floors. White everything in fact.

How can you make your own working space more pleasant, more aesthetically soothing? Well, ask yourself these questions. Do you really need ugly filing cabinets immediately to hand? Why not conceal them or put the contents somewhere else? Why not have bold decorative features in your workspace, to make it more individualised and humane? Large pictures and big pots of flowers will do the trick.

Most of the owners seem to be graphic and interior designers, and architects – which might be cheating somewhat. I know a number of professional writers who operate from spaces far less elegant (and that’s putting it mildly) . But this gives an idea of what is possible, and moreover attainable without a great deal of expense.

In fact I’ll summarise it all in one tip which is guaranteed to make your own working space more stylish and effective in one quick step: Get rid of all the clutter- now!

© Roy Johnson 2005

Working Spaces Buy the book at Amazon UK

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Simone Schleifer, Working Spaces, London: Taschen, 2005, pp.384, ISBN: 3822841862


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Filed Under: Architecture, Lifestyle Tagged With: Architecture, Home office, Home working, Interior design, Lifestyle, Working Spaces

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