An almost forgotten art, the Ventilation block has a long history as a traditional building module in tropical regions. It provides climatic comfort, protection and architectonic a continuous application of modules.

The first book on the life and work of 19th-century American inventor and entrepreneur James Bogardus, known for his unique grinding mill and other patented devices. However, his enduring claim to fame is his cast-iron structures, forerunners of the modern skyscraper. Modern interest in Bogardus stems from the historic preservation movement. His four surviving buildings in New York are recognized landmarks. Illustrated.

Robin Evans recasts the idea of the relationship between geometry and architecture, drawing on mathematics, engineering, art history, and aesthetics to uncover processes in the imagining and realizing of architectural form. Anyone reviewing the history of architectural theory, Robin Evans observes, would have to conclude that architects do not produce geometry, but rather consume it. In this long-awaited book, completed shortly before its author's death, Evans recasts the idea of the relationship between geometry and architecture, drawing on mathematics, engineering, art history, and aesthetics to uncover processes in the imagining and realizing of architectural form. He shows that geometry does not always play a stolid and dormant role but, in fact, may be an active agent in the links between thinking and imagination, imagination and drawing, drawing and building. He suggests a theory of architecture that is based on the many transactions between architecture and geometry as evidenced in individual buildings, largely in Europe, from the fifteenth to the twentieth century. From the Henry VII chapel at Westminster Abbey to Le Corbusier's Ronchamp, from Raphael's S. Eligio and the work of Piero della Francesca and Philibert Delorme to Guarino Guarini and the painters of cubism, Evans explores the geometries involved, asking whether they are in fact the stable underpinnings of the creative, intuitive, or rhetorical aspects of architecture. In particular he concentrates on the history of architectural projection, the geometry of vision that has become an internalized and pervasive pictorial method of construction and that, until now, has played only a small part in the development of architectural theory. Evans describes the ambivalent role that pictures play in architecture and urges resistance to the idea that pictures provide all that architects need, suggesting that there is much more within the scope of the architect's vision of a project than what can be drawn. He defines the different fields of projective transmission that concern architecture, and investigates the ambiguities of projection and the interaction of imagination with projection and its metaphors.

Originally published in 1948, A History of Cast Iron in Architecture is a comprehensive history of the part that has been played by cast iron in architecture and the allied arts in Britain. Any history of the rise and development of the iron-founding industry becomes virtually a history of the First Industrial Revolution. Examining the use of cast iron by builders and architects from late medieval times to the middle of the 20th Century the authors have also recorded a miniature history of British Industry. The introduction throws light on the early developments of iron-founding. The main sections of the book describe the rise and expansion of the cast-iron industry and its gradually increasing significance in architecture from 1650 to 1945. There are over 500 illustrations.

Architects' models serve as bridge between an idea and its realization. Models are one of the three means by which an architect invents and develops his design: sketch–model–computer model. No other representational form is as effective in enabling the viewer to perceive the spaces, shapes, surfaces and textures created by the architect's design — it is therefore a prerequisite in the design process. Architectural Models provides clear and comprehensible instruction explaining how design ideas can be skillfully translated into models. Some 200 black and white illustrations and, new to this edition, more than 40 extraordinary, full color photographs, provide a comprehensive visual explication of the text. In this completely revised edition, the authors convey practical basics and offer a wealth of innovative and valuable suggestions for students of architecture or graphic arts, as well as for experienced architectural model makers.