How do we create the new from the old? The Architecture of Influence explores this fundamental question by analyzing a broad swath of twentieth-century architectural works—including some of the best-known examples of the architectural canon, modern and postmodern—through the lens of influence. The book serves as both a critique of the discipline’s long-standing focus on "genius" and a celebration of the creative act of revisioning and reimagining the past. It argues that all works of architecture not only depend on the past but necessarily alter, rewrite, and reposition the traditions and ideas to which they refer. Organized into seven chapters—Replicas, Copies, Compilations, Generalizations, Revivals, Emulations, and Self-Repetitions—the book redefines influence as an active process through which the past is defined, recalled, and subsequently redefined within twentieth-century architecture.

Taking inspiration from Giorgio Vasari's Lives of the Artists and Harold Bloom's The Anxiety of Influence, this book elucidates the theory and practice of a selected group of key Japanese architects by situating them within a wider cultural context of art, technology, literature, and politics. Illustrated with rarely seen images and interspersed with previously untranslated texts, the book uses biographical profiles and comparative analyses to trace the evolution of spatial, aesthetic, and behavioral concepts in Japanese architecture over the postwar decades. In particular, the political activism of architects in the 1960s and the social criticism of architects in the 1970s provide a vital source of inspiration for the protean creativity of the Japanese architectural world today.

"Influence is not easily quantified. It is elusive, even when we casually admit to it as we ogle images on the internet, or feel ourselves softening our resolve on an important issue in light of a beautifully crafted piece of rhetoric; or as the mass-media drone imperceptibly rewires some of our most fundamental desires."--Page 23.

In 1910 John Merven Carrère, a Paris-trained American architect, wrote, “Learning from Paris made Washington outstanding among American cities.” The five essays in Paris on the Potomac explore aspects of this influence on the artistic and architectural environment of Washington, D.C., which continued long after the well-known contributions of Peter Charles L’Enfant, the transplanted French military officer who designed the city’s plan. Isabelle Gournay’s introductory essay provides an overview and examines the context and issues involved in three distinct periods of French influence: the classical and Enlightenment principles that prevailed from the 1790s through the 1820s, the Second Empire style of the 1850s through the 1870s, and the Beaux-Arts movement of the early twentieth century. William C. Allen and Thomas P. Somma present two case studies: Allen on the influence of French architecture, especially the Halle aux Blés, on Thomas Jefferson’s vision of the U.S. Capitol; and Somma on David d’Angers’s busts of George Washington and the Marquis de Lafayette. Liana Paredes offers a richly detailed examination of French-inspired interior decoration in the homes of Washington’s elite in the late nineteenth and early twentieth centuries. Cynthia R. Field concludes the volume with a consideration of the influence of Paris on city planning in Washington, D.C., including the efforts of the McMillan Commission and the later development of the Federal Triangle complex. The essays in this collection, the latest addition to the series Perspectives on the Art and Architectural History of the United States Capitol, originated in a conference held by the U.S. Capitol Historical Society in 2002 at the French Embassy’s Maison Française.

This book examines the mutual influence of architecture and human action during a key period of history: the Hellenistic age. During this era, the profound transformations in the Mediterranean's archaeological and historical record are detectable, pointing to a conscious intertwining of the physical (landscape, architecture, bodies) and social (practice) components of built space. Compiling the outcomes of a conference held in Kiel in 2018, the volume assembles contributions focusing on Hellenistic architecture as an action context, perceived in movement through built space. Sanctuaries, as a particularly coherent kind of built space featuring well-defined sets of architecture combined with ritual action, were chosen as the general frame for the analyses. The reciprocity between this sacred architecture and (religious) human action is traced through several layers starting from three specific case studies (Messene, Samothrace, Pella), extending to architectural modules, and finally encompassing overarching principles of design and use. As two additional case studies on caves and agorai show, the far-reaching entanglement of architecture and human action was neither restricted to highly architecturalised nor sacred spaces, but is characteristic of Hellenistic built space in general.

Academic architectural education started with the inauguration of the Académie d'Architecture on 3 December 1671 in France. It was the first institution to be devoted solely to the study of architecture, and its school was the first dedicated to the explicit training of architectural students. The Académie was abolished in 1793, during the revolutionary turmoil that besieged France at the end of the eighteenth century, although the architectural educational tradition that arose from it was resurrected with the formation of the École des Beaux-Arts and prevails in the ideologies and activities of schools of architecture throughout the world today. This book traces the previously neglected history of the Académie’s development and its enduring influence on subsequent architectural schools throughout the following centuries to the present day. Providing a valuable context for current discussions in architectural education, The Rise of Academic Architectural Education is a useful resource for students and researchers interested in the history and theory of art and architecture.

"Diane Stegmeier's landmark findings on workplace behavior in the corporate setting will prove vital in determining workplace strategy over the next ten years." —Prentice Knight, CEO of CoreNet Global "The author takes a truly comprehensive approach to understanding the business barriers to the successful implementation of physical space design. The Critical Influence methodology identifies areas of resistance to change and addresses them, enabling the architectural and design firm to do what they do best—create the appropriate workplace solution." —from the Foreword by Greg Bendis "One of the most difficult aspects of facility management is the inability to link environmental improvements with measurable productivity results. Stegmeier’s observations in this area are based on hard facts and real research, not just abstract theories. Her work is an essential tool for any professional looking to justify facility improvements that can actually support and advance the mission of the organization." —Heidi Schwartz, Editor-in-Chief of Today's Facility Manager Magazine This definitive book on innovations in interior office design offers vital lessons on preventing workplace strategy failure for architects, interior designers, facility managers, and business leaders. It fully explains the author's research on the fifteen Critical Influences on behavior in the workplace, and introduces a practical approach to integrate an organization’s cultural, operational, and environmental elements fostering the desired behaviors to support the company’s business goals when designing an office. The book includes case studies of good design in contemporary interior offices illustrating collaborative workplaces that work.