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The Architecture Concept Book
An inspirational and insightful resource for architecture students and professionals that offers a new way of thinking about architecture to meet the challenges of the twenty-first century Inspired by the complexity and heterogeneity of the world around us, and by the rise of new technologies and their associated behaviors, The Architecture Concept Book seeks to stimulate young architects and students to think outside of what is often a rather conservative and self-perpetuating professional domain and to be influenced by everything around them. Organized thematically, the book explores thirty- five architectural concepts, which cover wide- ranging topics not always typically included in the study of architecture. James Tait traces the connections between concepts such as familiarity, control, and memory and basic architectural components such as the entrance, arch, columns, and services, to social phenomena such as gathering and reveling, before concluding with texts on shelter, relaxing, and working. Even in this digital age, Tait insists that “we must always think before we design. We must always have a reason to build.” Each theme is accompanied by photographs, plans, and illustrations specially drawn by the author to explain spatial ideas, from the small scale to the urban. 700 illustrations, 350 in color
- GenresArchitecture
288 pages, Hardcover
Published February 13, 2018
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287 people want to read
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Displaying 1 - 4 of 4 reviews
March 22, 2018
This is not the kind of book that I would normally read. Being honest, I was persuaded to read it by the parents of the author, who I have known for 20 years since I moved to Glasgow. This, in turn, means that I have known the author since he was quite young. I do not think that any of this has affected my view, apart from being persuaded to read the book, but I am not the best judge of that.
This is an important book because it explains the construction of our built environment. We all have views about architecture because we live in the built environment, and we know what we expect that to be like, and what we are comfortable with. Much of this is defined by what we are used to and, as James Tait points out, there are much-loved buildings, like St. Paul's Cathedral, that were new and shockingly innovative. The dome of St. Paul's was distinctly not Protestant, and that was important in the London of Titus Oates and the "Popish Plot". There are also new buildings, such as the Sydney Opera House, that have become iconic for their cities and, as James Tait says, no-one cares that it was completed ten years after the deadline and was something like 14 times over budget. I would go further: outside the architectural community, I don't believe anyone was actually aware of that.
So what is the purpose of architecture, and how does it work. To illustrate this, James Tait gives us four overarching principles: the architect must assess, analyse, assemble and augment. He takes these principles and divides them into eight component parts. Thus Assess has to deal with the following: Wonder, Environment, Disorder, Memory, Function, Form, Irony and Politics. As a librarian, I love this: it is the application of Dewey's idea of the divisibility of knowledge. Of course, an architect would have that concept of the need for order, of the need for construction, because that is what they do. In this section about assessment, James Tait acknowledges that there are constraints upon any architect. These are things like the space available, the land on which the building is taking place, the money available, the purpose of the building, and the requirements of the client. Louis XIV at Versailles wanted a palace that would impress and overawe, not least his own fractious nobility. The castles of mediaeval Europe were built to dominate the surrounding country. Religious buildings of all faiths tend to be hugely tall to make the worshippers realise their own insignificance.
In each section, James Tait takes us through the challenges confronting the architect, the tasks that have to be included in the design and the possible solutions that the architect can apply. These challenges include the client developing ideas as the design progresses, which can alter the whole building, the money running out, and the need to include the practicalities that every building requires. There are whole sections on the purpose of staircases, the need to dispose of human waste, the need to be able to see, keep warm and keep dry, the need to have space for business and relaxation, including eating. These practicalities are essential to us, and therefore essential to the concept of any building. So there are whole questions about how you accommodate these needs: do you have underfloor heating as the Romans did, which is expensive, or do you have radiators, which are much cheaper but intrusive. James, being a modern architect does not talk fireplaces or wood-burning stoves, even though these are the preferred solutions for many people (and in this, I include the Aga stove). The point is that architects, like all of us, have to work within the bounds of what we can afford.
The real strength of this book is that it has been thought through. The author takes the trouble to explain the concepts so that someone like me, who is basically ignorant of the way that architecture works as opposed to how it looks, can understand the problems and solutions that are available, and the thinking behind those solutions. The key factor here is the "crit" which is the critique of the process. Architects look at what has been done, at what they are doing, assess the successes and failures, look at ways to augment the successes and to remedy the failures. That is why architecture is an evolving science and also an evolving art form. It takes on the availability of new materials, assesses the stresses and strains to which they can be subjected, and works out ways in which they can evolve into a thing of beauty, if not necessarily a joy forever. It is significant that the Pyramids are still there but we have just blown up the Red Road Flats in Glasgow. We seem to have stopped building for the future. James Tait argues that this is not necessary, that we can adapt new materials to ensure that they are long-lasting. He argues for the role of the architect as the creator of beauty.
That is one thing to say about this book. It is a thing of beauty. Thames & Hudson have taken great care in the production of this book. The illustrations are clear, numerous and augment the argument in each section of the book by providing the visible symbols of what is being discussed. The typeface is chosen, quite correctly for a book about architecture, to be clear and legible.
The greatest asset of this book, however, is that it shows a non-specialist like me, what the role of the architect is, how architecture evolves within the constraints laid upon it and how architecture can and should enhance the built environment in which we all live.
As I said, this is an important book.
This is an important book because it explains the construction of our built environment. We all have views about architecture because we live in the built environment, and we know what we expect that to be like, and what we are comfortable with. Much of this is defined by what we are used to and, as James Tait points out, there are much-loved buildings, like St. Paul's Cathedral, that were new and shockingly innovative. The dome of St. Paul's was distinctly not Protestant, and that was important in the London of Titus Oates and the "Popish Plot". There are also new buildings, such as the Sydney Opera House, that have become iconic for their cities and, as James Tait says, no-one cares that it was completed ten years after the deadline and was something like 14 times over budget. I would go further: outside the architectural community, I don't believe anyone was actually aware of that.
So what is the purpose of architecture, and how does it work. To illustrate this, James Tait gives us four overarching principles: the architect must assess, analyse, assemble and augment. He takes these principles and divides them into eight component parts. Thus Assess has to deal with the following: Wonder, Environment, Disorder, Memory, Function, Form, Irony and Politics. As a librarian, I love this: it is the application of Dewey's idea of the divisibility of knowledge. Of course, an architect would have that concept of the need for order, of the need for construction, because that is what they do. In this section about assessment, James Tait acknowledges that there are constraints upon any architect. These are things like the space available, the land on which the building is taking place, the money available, the purpose of the building, and the requirements of the client. Louis XIV at Versailles wanted a palace that would impress and overawe, not least his own fractious nobility. The castles of mediaeval Europe were built to dominate the surrounding country. Religious buildings of all faiths tend to be hugely tall to make the worshippers realise their own insignificance.
In each section, James Tait takes us through the challenges confronting the architect, the tasks that have to be included in the design and the possible solutions that the architect can apply. These challenges include the client developing ideas as the design progresses, which can alter the whole building, the money running out, and the need to include the practicalities that every building requires. There are whole sections on the purpose of staircases, the need to dispose of human waste, the need to be able to see, keep warm and keep dry, the need to have space for business and relaxation, including eating. These practicalities are essential to us, and therefore essential to the concept of any building. So there are whole questions about how you accommodate these needs: do you have underfloor heating as the Romans did, which is expensive, or do you have radiators, which are much cheaper but intrusive. James, being a modern architect does not talk fireplaces or wood-burning stoves, even though these are the preferred solutions for many people (and in this, I include the Aga stove). The point is that architects, like all of us, have to work within the bounds of what we can afford.
The real strength of this book is that it has been thought through. The author takes the trouble to explain the concepts so that someone like me, who is basically ignorant of the way that architecture works as opposed to how it looks, can understand the problems and solutions that are available, and the thinking behind those solutions. The key factor here is the "crit" which is the critique of the process. Architects look at what has been done, at what they are doing, assess the successes and failures, look at ways to augment the successes and to remedy the failures. That is why architecture is an evolving science and also an evolving art form. It takes on the availability of new materials, assesses the stresses and strains to which they can be subjected, and works out ways in which they can evolve into a thing of beauty, if not necessarily a joy forever. It is significant that the Pyramids are still there but we have just blown up the Red Road Flats in Glasgow. We seem to have stopped building for the future. James Tait argues that this is not necessary, that we can adapt new materials to ensure that they are long-lasting. He argues for the role of the architect as the creator of beauty.
That is one thing to say about this book. It is a thing of beauty. Thames & Hudson have taken great care in the production of this book. The illustrations are clear, numerous and augment the argument in each section of the book by providing the visible symbols of what is being discussed. The typeface is chosen, quite correctly for a book about architecture, to be clear and legible.
The greatest asset of this book, however, is that it shows a non-specialist like me, what the role of the architect is, how architecture evolves within the constraints laid upon it and how architecture can and should enhance the built environment in which we all live.
As I said, this is an important book.
September 23, 2024
Such an inspirational book, which every spatial design/architecture student should read:)
July 14, 2018
Fantastic!!! Sometimes you just can't find the word to describe an aspect of your concept. For those moments, I highly recommend this book. A wonderful primer for the aspiring architectural designer.
April 20, 2025
The author provides a wide range of aspects or cues that can help approach any architectural concept. Each project comes with its own set of drivers that lend the concept to becoming for example a socially, aesthetically, historically or politically-driven one. The author illustrates in drawings how each of these could work and describes these in accompanying text.
This book has widened my perspective on why we build and what aspects might inform our designs. Political in some places and impenetrable in others, but mostly a good read. Good illustration examples. This book could serve as a reference toolbox to consult before approaching any architectural design concept.
This book has widened my perspective on why we build and what aspects might inform our designs. Political in some places and impenetrable in others, but mostly a good read. Good illustration examples. This book could serve as a reference toolbox to consult before approaching any architectural design concept.
Displaying 1 - 4 of 4 reviews