Net Zero Energy Building by What do we mean by net zero energy? Zero operating energy? Zero energy costs? Zero emissions? There is no one answer: approaches to net zero building vary widely across the globe and are influenced by different environmental and cultural contexts. Net Zero Energy Building: Predicted and Unintended Consequencespresents a comprehensive overview of variations in 'net zero' building practices. Drawing on examples from countries such as the United States, United Kingdom, Germany, Japan, Hong Kong, and China, Ming Hu examines diverse approaches to net zero and reveals their intended and unintended consequences. Existing approaches often focus on operating energy: how to make buildings more efficient by reducing the energy consumed by climate control, lighting, and appliances. Hu goes beyond this by analyzing overall energy consumption and environmental impact across the entire life cycle of a building--ranging from the manufacture of building materials to transportation, renovation, and demolition. Is net zero building still achievable once we look at these factors? With clear implications for future practice, this is key reading for professionals in building design, architecture, and construction, as well as students on sustainable and green architecture courses.
The Architecture of Nothingness by It is a common enough assumption that good buildings make us feel good just as poor ones can make us feel insecure, depressed or even threatened. We may instantly decide that we ¿like¿ one building more than another, in the same way that without thinking we choose one work of art or music over another. But what is going on when we make these instant decisions? The process is so complex that it remains an area rarely examined, often considered unfathomable, or for some mysterious, bordering even on the spiritual. Frank Lyons seeks to unpick the complex relationships that go to make up great works of architecture, to reveal a set of principles that are found to apply not only to architecture but also to art, music and culture in general. One of the major complications at the heart of culture is that because the arts are generated subjectively, it is assumed that the finished cultural artefact is also subjective. This is a myth that this book seeks to dispel. The arts are indeed created from the personal subjective space of an individual but what that individual has to say will only be shareable if expressed in coherent (objective) form. In a nutshell, the book reverses two generally accepted positions, that the arts are subjective and that meaning is objective and therefore shared. The reversal of these seemingly common sense, but mistaken positions enables two important issues to be resolved, firstly it explains how the arts communicate through objectivity and secondly how the meaning of an object of art is never shared but always remains private to the individual. The combination of these two positions ultimately helps us to understand that beauty is a subjective appreciation of an objectively arranged form. Furthermore, this understanding enables the author to explain how a sublimely arranged form can open us to the ineffab≤ to a field of NOTHINGNESS, or to what some might call the spiritual realm of our own being. 
Unorthodox Ways to Think the City by This book argues that architecture and the city and their processes can be better understood by drawing categories from disciplines that exceed the architectural and urban cultural context. It performs an open intellectual reading that traverses architecture and architectural theory, but also art theory and history, cartography, philosophy, literature and cultural studies, to unfold a series of ¿figures¿ that are ambiguously placed between the representation and the construction of space in architecture and the city. The paradigm and philosophy, the island and the city, the map and representation, the model and making and the questioning of form performed by dust, are explored beyond their definition, as processes that differently make space between architecture and the city and are proposed as unorthodox analytic techniques to decipher contemporary spatial complexity. The book analyses how these ¿figures¿ have been employed at different times and in different creative disciplines, beyond architecture and in relation to changing notions of space, and traces the role that they have played in the shift towards the dynamic that has taken place in contemporary theory and design research. What emerges is the idea of an ¿architecture of the city¿ that is not only physical but is largely defined by the way in which its physical spaces are regulated, lived and perceived, but also imagined and projected.
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