They reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the twenties and thirties, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announces the end of Soviet Union. Taking advantage of the collapsing monolithic structure, the holes of the widening net, architects revisited all the chronological periods and styles, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba sanatorium), others expressed their imagination in an expressionist way (Tbilisi wedding palace). A summer camp, inspired by sketches of a prototype lunar base, lays claim to its suprematist influence (Promethee). Then comes the speaking architecture widespread in the last years of the USSR: a crematorium adorned with concrete flames (Kiev crematorium), a technological institute with a flying saucer crashed on the roof (Kiev institute), a political center watching you like a Big Brother (Kaliningrad House of Soviet). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of privacy and it also outlines the geography of the USSR, showing how local influences made their exotic twists before bringing the country to its end.

    then the victors imposed democracy on the vanquished. For a group of apprentice architects, artists, and designers, led by a visionary, the dire situation of their country was not an obstacle but an inspiration to plan and think… although they were very different characters, the architects worked closely together to realize their dreams, staunchly supported by a super-creative bureaucracy and an activist state... after 15 years of incubation, they surprised the world with a new architecture—Metabolism—that proposed a radical makeover of the entire land... Then newspapers, magazines, and TV turned the architects into heroes: thinkers and doers, thoroughly modern men… Through sheer hard work, discipline, and the integration of all forms of creativity, their country, Japan, became a shining example... when the oil crisis initiated the end of the West, the architects of Japan spread out over the world to define the contours of a post-Western aesthetic....” —Rem Koolhaas / Hans Ulrich Obrist Between 2005 and 2011, architect Rem Koolhaas and curator Hans Ulrich Obrist interviewed the surviving members of Metabolism—the first non-western avant-garde, launched in Tokyo in 1960, in the midst of Japan’s postwar miracle. Project Japan features hundreds of never-before-seen images—master plans from Manchuria to Tokyo, intimate snapshots of the Metabolists at work and play, architectural models, magazine excerpts, and astonishing sci-fi urban visions—telling the 20th century history of Japan through its architecture, from the tabula rasa of a colonized Manchuria in the 1930s to a devastated Japan after the war, the establishment of Metabolism at the 1960 World Design Conference in Tokoy, to the rise of Kisho Kurokawa as the first celebrity architect, to the apotheosis of Metabolism at Expo ’70 in Osaka and its expansion into the Middle East and Africa in the 1970s. The result is a vivid documentary of the last moment when architecture was a public rather than a private affair.

    This unique book explains the key techniques of folding, such as pleated surfaces, curved folding and crumpling. An elegant, practical handbook, it covers over 70 techniques explained by clear step-by-step drawings, crease-pattern drawings, and specially commissioned photography.

    Over 3.5 billion years of natural history have evolved innumerable examples of forms, systems, and processes that we can now apply beneficially to modern green design.Aimed at architects, urban designers and product designers, Biomimicry in Architecture looks to the natural world to seek clues as to how we can achieve radical increases in resource efficiency. Packed with inspiring case studies predicting future trends, the principal chapters look in turn at: structural efficiency; material manufacture; zero-waste systems; water; energy generation; the thermal environment; and biomimetic products.Together, it is an amazing sourcebook of extraordinary design solutions to equip us for the challenges of building a sustainable and restorative future.

    This is reflected in Ellora where we find rock-cut cave-temples representing the Vaishnava, Shaiva, Jaina and Buddhist faiths. This Amar Chitra Katha tells the story of the Rashtrakoota heroes who have left us a lasting legacy - the Ellora caves.

    Paul. Now, in Once There Were Castles, he offers a richly illustrated look at another world of ghosts in our midst: the lost mansions and estates of the Twin Cities.Nobody can say for sure how many lost mansions haunt the Twin Cities, but at least five hundred can be accounted for in public records and archives. In Minneapolis and St. Paul, entire neighborhoods of luxurious homes have disappeared, virtually without a trace. Many grand estates that once spread out over hundreds of acres along the shores of Lake Minnetonka are also gone. The greatest of these lost houses often had astonishingly short lives: the lavish Charles Gates mansion in Minneapolis survived only nineteen years, and Norman Kittson’s sprawling castle on the site of the St. Paul Cathedral stood for barely more than two decades. Railroad and freeway building, commercial and institutional expansion, fires, and financial disasters all claimed their share of mansions; others succumbed to their own extravagance, becoming too costly to maintain once their original owners died.The stories of these grand houses are, above all else, the stories of those who built and lived in them—from the fantastic saga of Marion Savage to the continent-spanning conquests of James J. Hill, to the all-but-forgotten tragedy of Olaf Searle, a poor immigrant turned millionaire who found and lost a dream in the middle of Lake Minnetonka. These and many other mansion builders poured all their dreams, desires, and obsessions into extravagant homes designed to display wealth and solidify social status in a culture of ever-fluctuating class distinctions.The first book to take an in-depth look at the history of the Twin Cities’ mansions, Once There Were Castles presents ninety lost mansions and estates, organized by neighborhood and illustrated with photographs and drawings. An absorbing read for Twin Cities residents and a crucial addition to the body of work on the region’s history, Once There Were Castles brings these “ghost mansions” back to life.

    These images are embodied and lived experiences that take place in 'the flesh of the world', becoming part of us, at the same time that we unconsciously project aspects of ourselves on to a conceived space, object or event. Artistic images have a life and reality of their own and they develop through unexpected associations rather than rational and causal logic. Images are usually thought of as retinal pictures but profound poetic images are multi-sensory and they address us in an embodied and emotive manner.Architecture is usually analysed and taught as a discipline that articulates space and geometry, but the mental impact of architecture arises significantly from its image quality that integrates the various aspects and dimensions of experience into a singular, internalised and remembered entity. The material reality is fused with our mental and imaginative realm.The book is organised into five main parts that look at in turn: the image in contemporary culture; language, thought and the image; the many faces of the image; the poetic image; and finally the architectural image. The Embodied Image is illustrated with over sixty images in pairs, which are diverse in subject. They range from scientific images to historic artistic and architectural masterpieces. Artworks span Michelangelo and Vermeer to Gordon Matta- Clark and architecture takes in Modern Masters such as Mies van der Rohe, Le Corbusier and Alvar Aalto, as well as significant contemporary works by Steven Holl and Daniel Libeskind.

    Aureli uses the term absolute not in the conventional sense of "pure," but to denote something that is resolutely itself after being separated from its other. In the pursuit of the possibility of an absolute architecture, the other is the space of the city, its extensive organization, and its government. Politics is agonism through separation and confrontation; the very condition of architectural form is to separate and be separated. Through its act of separation and being separated, architecture reveals at once the essence of the city and the essence of itself as political form: the city as the composition of (separate) parts. Aureli revisits the work of four architects whose projects were advanced through the making of architectural form but whose concern was the city at large: Andrea Palladio, Giovanni Battista Piranesi, Etienne Louis-Boull'e, and Oswald Mathias Ungers. The work of these architects, Aureli argues, addressed the transformations of the modern city and its urban implications through the elaboration of specific and strategic architectural forms. Their projects for the city do not take the form of an overall plan but are expressed as an "archipelago" of site-specific interventions.

    Axel Vervoordt’s intense curiosity has fueled his work as an interior designer, spurring him to explore and draw inspiration from cultures around the globe. He was first exposed to Eastern art and philosophy years ago, but today it has become the guiding principle in his work, particularly the concept of Wabi. Developed in the twelfth century, Wabi advocates simplicity and humility, the rejection of all that is superfluous or artificial. Through extraordinary photographs from Japan and Korea to Belgium and Switzerland, Vervoordt invites us to explore the elements that inspire him: natural materials and time-worn objects that evoke the essence of Wabi. Today, together with the Japanese architect Tatsuro Miki, Vervoordt carries the principles of Wabi into his remarkable interiors. As Vervoordt reveals how he infuses his current creations with a fundamentally oriental approach, interiors devotees will gain new insight from this tribute to the designer’s latest sources of inspiration for the home.

    Following the success of their first book, Architecture for Humanity brings readers the next edition, with more than 100 projects from around the world. Packed with practical and ingenious design solutions, this book addresses the need for basic shelter, housing, education, health care, clean water, and renewable energy. One-on-one interviews and provocative case studies demonstrate how innovative design is reimagining community and uplifting lives. From building-material innovations such as smog-eating concrete to innovative public policy that is repainting Brazil’s urban slums, Design Like You Give a Damn [2] serves as a how-to guide for anyone seeking to build change from the ground up.Praise for Design Like You Give a Damn [2]:<!--StartFragment--> “The resourcefulness of the projects in the book is inspiring, its information practical (see Stohr’s chapter on financing sustainable community development) and its numerous factoids sobering.” —TMagazine.blogs.NYTimes.com

    Over the past five years, Seattle-based Kundig has continued his meteoric rise, collecting numerous awards, including the 2008 Cooper-Hewitt National Design Award for Architecture Design. Tom Kundig: Houses 2 features seventeen residential projects, ranging from a five hundred-square-foot cabin in the woods to a house carved into and built out of solid rock. In his new work, Kundig continues to strike a balance between raw and refined and modern and warm, creating inviting spaces with a strong sense of place. The houses seamlessly incorporate his signature inventive details, rich materials, and stunning sites from the majestic Northwestern forest to the severe high desert.

    Insightful, accessible text by gardening author Noel Kingsbury places Oudolf's work in context and explains how each garden and the plants selected for it fit the specific environment. Oudolf's detailed plans provide inspiration and insight for all interested in small personal gardens and the design of large-scale public landscapes alike."

    Coney Island's Dreamland—destroyed by fire in 1911, Metropolitan Opera House—demolished in 1967, Moondance Diner—moved to Wyoming in 2007. A celebration of the cherished parts of New York that are no longer.  The New York landmarks remembered here include Coney Island's "Elephant Colossus," an elephant-shaped hotel rumored to be a brothel and destroyed by fire in 1896; the Manhattan Beach Hotel; South Street Seaport; Stanford White's Madison Square Garden; the Vanderbilt, Tiffany, and Astor mansions; Central Park's elevated railway; the first Waldorf Astoria Hotel; the 1939 World's Fair site; Manhattan Train Terminal on Brooklyn Bridge; Ebbet's Field—home of the Brooklyn Dodgers; and the Polo Grounds—home of the NY Giants baseball team. This collection celebrates old theaters and hotels that have burned or been razed, vanished ferry buildings, removed-from-service trolley cars, classic art deco diners, and the demolition that sparked a strong preservation movement in the city: Pennsylvania Station.

    Ungers assigns each a title--a single descriptive word printed in both English and German. In Ungers' vision, the divisions of Venice are transformed into a handshake and the 1809 plan of St Gallen becomes a womb. Ungers writes in his foreword: "Without a comprehensive vision reality will appear as a mass of unrelated phenomenon and meaningless facts, in other words, totally chaotic. In such a world it would be like living in a vacuum; everything would be of equal importance; nothing could attract our attention; and there would be no possibility to utilize the mind." A classic of creative cartography and visual thinking, "City Metaphors" is also an experiment in conscious vision-building.

    This book offers more proof of Ishigamis precocious talent. Plans, designs, photographs, models and writings from various projects illustrate Ishigamis stated aim to embody in architecture that which has never been embodied before. An essay by historian Taro Igarashi assesses Ishigamis importance and success, including his Golden Lion award at the 12th International Architecture Biennale.

    Whether for reasons of preservation, sustainability, or cost-effectiveness, the movement to reuse buildings presents a variety of design challenges and opportunities. Old Buildings, New Designs is an Architecture Brief devoted to working within a given architectural fabric from the technical issues that arise from aging construction to the controversy generated by the various project stakeholders to the unique aesthetic possibilities created through the juxtaposition of old and new.

    With stunning new photography commissioned especially for this book, Fallingwater captures the much-loved masterpiece by legendary architect Frank Lloyd Wright following its recent restoration. Built in 1936 for Edgar and Liliane Kaufmann, Fallingwater is hailed as a twentieth-century masterpiece—a marvel of innovation and daring that appears to float over rushing falls. This volume is a major event in the story of this icon, with new authoritative texts on Fallingwater’s history, structure, restoration, and collections, including the house’s relationship to its setting and its importance to the sustainability movement; its meaning in the context of Wright’s body of work; the analysis and planning process that went into Fallingwater’s restoration and how a seemingly unsolvable problem was overcome through modern engineering. Destined to become the lasting volume on this seminal monument, the book is a tribute to genius and the long-awaited reconsideration of this masterwork.

    Explores the most innovative structures from ancient times to modern times.

    It has developed out of our own preferences for living in a modern way." California design influenced the material culture of the entire country, in everything from architecture to fashion. This generously illustrated book, which accompanies a major exhibition at the Los Angeles County Museum of Art, is the first comprehensive examination of California's mid-century modern design. It begins by tracing the origins of a distinctively California modernism in the 1930s by such European émigrés as Richard Neutra, Rudolph Schindler, and Kem Weber; it finds other specific design influences and innovations in solid-color commercial ceramics, inspirations from Mexico and Asia, new schools for design training, new concepts about leisure, and the conversion of wartime technologies to peacetime use (exemplified by Charles and Ray Eames's plywood and fiberglass furniture). The heart of California Design is the modern California home, famously characterized by open plans conducive to outdoor living. The layouts of modernist homes by Pierre Koenig, Craig Ellwood, and Raphael Soriano, for example, were intended to blur the distinction between indoors and out. Homes were furnished with products from Heath Ceramics, Van Keppel-Green, and Architectural Pottery as well as other, previously unheralded companies and designers. Many objects were designed to be multifunctional: pool and patio furniture that was equally suitable indoors, lighting that was both task and ambient, bookshelves that served as room dividers, and bathing suits that would turn into ensembles appropriate for indoor entertainment. California Design includes 350 images, most in color, of furniture, ceramics, metalwork, architecture, graphic and industrial design, film, textiles, and fashion, and ten incisive essays that trace the rise of the California design aesthetic.

    In 2008, he was tipped by The Guardian to be one of the '50 people who could save the planet'. He has built over 200 buildings globally and published numerous books advocating an environmentally responsive approach to design. He is probably best known as the inventor of the green skyscraper; it was his innovative idea to incorporate bioclimatic features in a high-density building type. It is for this and his ecological urban design that he has gained a uniquely influential position within architecture. Though he has authored many books about his work and his ideas, this is the first definitive book to cover his forty-year career. Featuring 22 of Yeang's most significant projects, EcoArchitecture begins with his earliest work on environmental design, executed as a student at the Architectural Association and then a Phd student at Cambridge in the early 1970s, and with his most recent projects with Llewelyn Davies Yeang in London and TRHY in Kuala Lumpur. A preface by Lord Foster and an introductory essay by Professor John Frazer provide the full context of Yeang's thinking. The main text by contributing editor of Architectural Record, Sara Hart, and lecturer and freelance author, David Littlefield, provide some critical reflection on the development of his work.

    His captivating photographs serve as a visual record of the dramatic evolution of this exciting and diverse metropolis. Shulman’s best-known images consist of mid-century views of Modernist domestic interiors, notably the iconic Case Study House #22 of 1960, in which two well-dressed women sit inside the floor-to-ceiling window walls of a Pierre Koenig–designed house that seems to float like a spaceship over the light-spangled urban sprawl beyond. Not as well known but equally powerful are Shulman’s images of Union Station and downtown’s vintage office buildings, the dynamic Wilshire Boulevard corridor, the region’s eclectic coffee shops and movie theaters, the sweeping canopy of the Century Plaza Hotel, the diverse fabric of L.A.’s residential neighborhoods, and the panoramic vistas of the city of the future under construction. The author selected sixty images from the Getty Research Institute’s Shulman archive for this elegant book, for which he also wrote an informative essay on the photographer’s exceptional capacity to capture the diverse built environment of Los Angeles.

    Plans, designs, photographs, models and writings from various projects illustrate Ishigamis stated aim to embody in architecture that which has never been embodied before. An essay by historian Taro Igarashi assesses Ishigamis importance and success, including his Golden Lion award at the 12th International Architecture Biennale.

    With a life and career spanning nearly a century, Julius Shulman is credited with furthering the midcentury modernism movement through his flawless photographs of the pioneering architecture of Richard Neutra and Charles Eames, among others. While Shulman's pictures comprise the most published images of the modernist movement, this new monograph presents many never-before-seen images on a subject closest to Shulman's heart: Los Angeles and its environs--including Palm Springs and other suburbs. These affecting photographs show Los Angeles as a living organism, simultaneously vibrant and volatile depending on the neighborhood. This tension is apparent in Shulman's documentation of then-emerging areas like Century City, Wilshire Boulevard, and Echo Park, as well as his studies of landmarks like the Watts Towers and Grauman's Chinese Theatre. Many of the Los Angeles buildings and neighborhoods photographed by Shulman have since been overhauled, torn down, or otherwise altered beyond recognition, making these images some of the only lasting testaments to their existence. Selected from his personal collection as well as his official archives, the photographs included in this book represent not only lesser-known and never-before-seen material, but also some of Shulman's own personal favorites.

    Ross Chapin begins the book by outlining the shifts in the scale of community and the American Dream over several generations, leading to super-sized houses in a sea of development, then describes a solution to help restore healthy, livable communities. The first section of the book looks at historic precedents of pocket neighborhoods, from 15th century hofje almshouses in the Netherlands, to a 19th century Methodists Camp Community on Martha’s Vineyard, to early 20th century Garden City models and Southern California Cottage Courtyards. The second section covers a wide range of contemporary pocket neighborhoods, including New Urban communities, affordable housing, houseboat communities, eco-neighborhoods, and Ross Chapin Architects’ own pocket neighborhood examples. The third section focuses on ‘cohousing’ communities, from Danish origins in the 1960s, to examples across America, Australia and New Zealand, including a chapter on senior cohousing. The fourth section looks at retrofitting pocket neighborhoods within existing communities. Throughout the book are series of “Design Keys” that highlight the essential principles of pocket neighborhood planning and design, and short stories about “Pocket Neighborhood Pioneers” who blazed new trails. The book is filled with rich photographs, drawings, illustrations and site plans, and a Resources section at the end provides leads for the reader to explore the topic in further detail.

    Based on the belief that technology is at the heart of design studies, this book encourages students to think of design and technology as an integrated whole. We provide step-by-step techniques for skills that students use in their undergraduate studies, such as drawing, model making and surveying and explain the conventions of architectural representation. The book also explains the primary elements of construction and structure from first principles, using clear diagrams and drawings. Students will use this handbook on a daily basis in their design and technology studios through their first years of study. Studio Craft & Technique has been recommended to first year students by The Bartlett School of Architecture.

    In this splendid book, renowned historian Jeremy Musson explores the interiors and decoration of the great country houses of England, offering a brilliantly detailed presentation of the epitome of style in each period of the country house, including the great Jacobean manor house, the Georgian mansion, and the Gothic Revival castle. For the first time, houses known worldwide for their exquisite architecture and decoration--including Wilton, Chatsworth, and Castle Howard--are seen in unprecedented detail. With intimate views of fabric, gilding, carving, and furnishings, the book will be a source of inspiration to interior designers, architects, and home owners, and a must-have for anglophiles and historic house enthusiasts.The fifteen houses included represent the key periods in the history of English country house decoration and cover the major interior fashions and styles. Stunning new color photographs by Paul Barker-who was given unparalleled access to the houses-offer readers new insights into the enduring English country house style. Supplementing these are unique black-and-white images from the archive of the esteemed Country Life magazine.  Among the aspects of these that the book covers are: paneling, textile hangings (silks to cut velvet), mural painting, plasterwork, stone carving, gilding, curtains, pelmets, heraldic decoration, classical imagery, early upholstered furniture, furniture designed by Thomas Chippendale, carved chimney-pieces, lass, use of sculpture, tapestry, carpets, picture hanging, collecting of art and antiques, impact of Grand Tour taste, silver, use of marble, different woods, the importance of mirror glass, boulle work, English Baroque style, Palladian style, neo-Classical style, rooms designed by Robert Adam, Regency, Gothic Revival taste, Baronial style, French 18th century style, and room types such as staircases, libraries, dining rooms, parlors, bedrooms, picture galleries, entrance halls and sculpture galleries.Houses covered include: Hatfield - early 1600s (Jacobean); Wilton - 1630/40s (Inigo Jones); Boughton - 1680/90s (inspired by Versailles); Chatsworth -1690/early 1700s (Baroque); Castle Howard - early 1700s (Vanbrugh); Houghton - 1720s (Kent); Holkham - 1730s-50s (Palladian); Syon Park - 1760s (Adam); Harewood -  1760s/70s (neo-Classical); Goodwood - 1790s/1800s (neo-Classical/Regency); Regency at Chatsworth/Wilton/C Howard etc - 1820/30s; Waddesdon Manor - 1870/80ss (French Chateau style); Arundel Castle -1880s/90s (Gothic Revival); Berkeley Castle - 1920/30s (period recreations and antique collections); Parham House - 1920s/30s (period restorations and antique collections). The range is from the early 17th century to present day, drawn from the authenticated interiors of fifteen great country houses, almost all still in private hands and occupied as private residences still today. The book shows work by twentieth-century designers who have helped evolve the country house look, including Nancy Lancaster, David Hicks, Colefax & Fowler, and David Mlinaric

    Now Jeanne Gang, founder of Studio Gang Architects, is giving the epithet "Chicago School" a new meaning. Her recently completed 82-story Aqua residential tower is already an icon of the Chicago skyline and has been universally hailed as a masterwork for the young firm. Reveal presents an in-depth look at the firm's unique work and working process through drawings, diagrams, sketches, and photographs that illuminate the evolution of each of the book's eight featured projects, both public and private, and ranging in size from exhibition to high-rise.

    It makes essential reading for any architect, aspiring or practicing.

    

    This new collection features Zaha Hadid, Giancarlo De Carlo, Bolles+Wilson and Alberto Kalach whose stories are told through notes and drawings never before seen.The series introduces a new clothbound format, with a hard, paper cover and colored spine matching the elastic band. The drawings inside are printed on glossy coated paper.[Publisher]

    With photographs and ephemera from all over the world, this lavish book goes beyond in-store extravaganzas to the history of these consumer institutions, the personalities behind them, their vast range of goods, unique architecture, advertising, and associated sociological trends. With perfumed air and chandeliers, department stores have lured millions for over a century with that enticing, dizzying sense that no matter how much you already have, there is always more.Praise for The World of Department Stores:“Since my visits as a child to La Opera Department Store in Santo Domingo, I have believed that the best department stores are merchants not of clothing or shoes or cosmetics but of dreams. Whitaker’s book is a remarkable around-the-world look at these dream factories. It is an invaluable resource to anyone interested in the business of retailing and to shoppers everywhere.”—Oscar de la Renta “The World of Department Stores is essential reading for anyone who wants to understand the foundations of the urban experience in the West and the department store as the ultimate expression of the needs of the rising middle class and its tastes.” ­—Leonard Lauder, Chairman Emeritus, The Estée Lauder Companies Inc.   “I have nothing but good memories about the many department stores that played an important part in my business, [and] I warmly welcome the publication of this wonderful and unique book on department stores throughout the world.” —Hubert de Givenchy "The birth of the department store in the late 19th century brought everything glamorous together under one roof—from inviting, intelligent architecture and design to the latest fashions. Jan Whitaker's The World of Department Stores looks back to the biggest and brightest shops— including the belle epoque splendor of Paris's Bon Marché, the block-long, palatial GUM in Moscow; and the always outrageous holiday windows at Barneys New York." –Elle Décor "In photos and art, this visual feast details the extraordinary history of the world's "great retail palaces" from the past century. With authoritative and informative text." -Sacramento Bee "Illustrated with photos of window displays, catalog covers and the Gilded Age architecture of institutions from Philadelphia’s long-gone Wanamaker’s to Paris’s still-strong La Samaritaine, The World of Department Stores makes a worthwhile gift for the history, sociology or shopping buff on your list. " -Washington Post

    Yet our ideas and experiences—both physical and cultural—remain fundamentally patterned by the complex material interplay of brain, body, and world. With support from pioneering research in the cognitive and neurosciences, Sarah Robinson combines philosophy, poetry, and personal narrative to offer a poignant study of the many ways in which our built environment shapes us as significantly as we have shaped it. Nesting: Body, Dwelling, Mind explores how our very being is sculpted by our interactions in an environment that we ourselves have fashioned, making us our own greatest artifact.

    New technologies, new design techniques and a demand for enhanced environmental performance have provoked a re-thinking of architecture's traditional relationship to the ground. The book Landform Building sets out to examine the many manifestations of landscape and ecology in contemporary architectural practice: not as a cross-disciplinary phenomenon (architects working in the landscape) but as new design techniques, new formal strategies and technical problems within architecture.

     The skyscraper is perhaps the most recognizable icon of the modern urban landscape. Providing offices, homes, restaurants, and shopping to thousands of inhabitants, modern skyscrapers function as small cities- with infrastructure not unlike that hidden beneath our streets. Clean water is provided to floors thousands of feet in the sky; elevators move people swiftly and safely throughout the building; and telecom networks allow virtual meetings with people on other continents. How are these services-considered essential, but largely taken for granted- possible in such a complex structure? What does it really take to sustain human life at such enormous heights? Exploring the interconnected systems that make life livable in the sky is the task of Kate Ascher's stunningly illustrated The Heights: Anatomy of a Skyscraper. Ascher examines skyscrapers from around the world to learn how these incredible structures operate. Just how do skyscrapers sway in the wind, and why exactly is that a good idea? How can a modern elevator be as fast as an airplane? Why are skyscrapers in Asia safer than those in the United States? Have new safeguards been designed to protect skyscrapers from terrorism? What happens when the power goes out in a building so tall? Why are all modern skyscrapers seemingly made of glass, and how can that be safe? How do skyscrapers age, and how can they be maintained over decades of habitation? No detail is too small, no difficulty too big to escape Ascher's encyclopedic eye. Along the way, The Heights introduces the reader to every type of person involved in designing, building, and maintaining a skyscraper: the designers who calculate how weight and weather will affect their structures, the workers who dig the foundations and raise the lightning rods, the crews who clean the windows and maintain the air ducts, and the firefighters-whose special equipment allows blazes to be fought at unprecedented heights. More than a technical survey, Ascher's work is a triumphant ode to the most monumental aspect of modern civilization. Saturated with vivid illustrations and unforgettable anecdotes, The Heights is the ultimate guide to the way things work in the skyscraper.

    Architects of America's Gilded Age, Carrere and Hastings designed commercial buildings, elaborate residences, and prominent public structures in New York, Washington, London, Paris, Rome, and Havana between 1895 and 1924. Their client list included Carnegie, duPont, Rockefeller, Harriman, Morgan, Gould, Astor, Payne, Whitney, and Vanderbilt. They are revered for Beaux-Arts masterpieces such as the New York Public Library, the Ponce de Leon Hotel in St. Augustine, and the Frick House (now The Frick Collection) in New York, among many others. In addition, they made extensive renovations to the U.S. Capitol, and designed the Senate Office Building, the House Office Building, and the Carnegie Institute in Washington. This sumptuous monograph explores their work with a detailed look at residential, institutional, and commercial works such as the Alfred I. duPont House (now Nemours Mansion) in Delaware; the Flagler House in Palm Beach; and, in New York, the Henry Sloane House (now Lycee Francais), the Public Library, Standard Oil Headquarters, the Neue Galerie, Grand Army Plaza, Bryant Park, and others.

    Zarina Hashmi's main working medium is paper, which she employs in woodcuts, etchings, drawings, rubbings, and casts made from paper pulp. Minimal yet rich in associations, her abstract compositions are inextricably linked to her life and to the themes of dispossession and exile that have marked it. The concept of home--whether personal, geographical, national, spiritual, or familial--resonates throughout Zarina's work. Appearing in different guises throughout her oeuvre, her distinctive line is the unifying element of her compositions, like an umbilical cord that ties her to this world regardless of where she is. This generously illustrated volume places Zarina's work within a tradition of the use and fabrication of paper on the Indian Subcontinent, while also examining the themes of dispossession and exile that are subtly yet poignantly raised by her art.

    Narratives exist, but they all too often treat interior design as a function of architecture or display rather than experience. An independent interior design theory is virtually nonexistent. Professor Lois Weinthal envisions a future where interior design is treated with parity to architecture and industrial design, a future with a new interior. A reader for architects and interior designers, Weinthal has carefully curated a collection of forty-eight essays that will form the foundation of interior design theory and shape future interior space. Her introductory essays illuminate each source, prefacing and directing discussion of the material as it relates to interior design theory. Alluding to Le Corbusier s classic text, she has organized this material into a framework that inspires conversation, marking a break with the past and forming a new vocabulary for the discourse. Contributions to the book s eight sections include essays by David Batchelor, Aaron Betsky, Petra Blaisse, Andrew Blauvelt, Beatriz Colomina, Le Corbusier, Robin Evans, Adolf Loos, Ellen Lupton, Charlotte Perkins Gilman, Michel Serres, Henry Urbach, Wim Wenders, and Mark Wigley.

    It provides unique opportunities for innovation, enabling the designer to customise the software around their own predilections and modes of working. It liberates the designer by automating many routine aspects and repetitive activities of the design process, freeing-up the designer to spend more time on design thinking. Software that is modified through scripting offers a range of speculations that are not possible using the software only as the manufacturers intended it to be used. There are also significant economic benefits to automating routines and coupling them with emerging digital fabrication technologies, as time is saved at the front-end and new file-to-factory protocols can be taken advantage of. Most significantly perhaps, scripting as a computing program overlay enables the tool user (designer) to become the new tool maker (software engineer). Though scripting is not new to design, it is only recently that it has started to be regarded as integral to the designer's skill set rather than a technical speciality. Many designers are now aware of its potential, but remain hesitant. This book treats scripting not only as a technical challenge, requiring clear description, guidance and training, but also, and more crucially, answers the question as to why designers should script in the first place, and what the cultural and theoretical implications are. This book:Investigates the application of scripting for productivity, experimentation and design speculation. Offers detailed exploration of the scripting of Gaudi's final realised design for the Sagrada Familia, leading to file-to-factory digital fabrication. Features projects and commentary from over 30 contemporary scripting leaders, including Evan Douglis, Marc Fornes, Sawako Kaijima, Achim Menges, Neri Oxman, Casey Reas and Hugh Whitehead of Foster + Partners.

    At a time when more travelers are rediscovering Cuba, this lavishly illustrated volume offers a different view of the island’s cultural achievements. It presents not the Cuba of Castro’s era, with its derelict buildings and peeling paint, but the opulent world of the Spanish Creole aristocracy of the colonial period, with its Mudejar craftsmanship and baroque palacios, the sugarcane plantations (ingenios) and coffee plantations (cafetales), and classically inspired grand mansions. Exceptional preservation work has kept these villas in the magnificent state in which they were first envisioned.The photographs, shot exclusively for this book, show examples in each area of the island-from the interiors and exteriors in Havana, Santiago de Cuba, Santa Clara, Cienfuegos, and Pinar del Rio to close-up details of courtyards, balconies, galleries, balustrades, grilles, and louvered doors in Trinidad, Matanzas, and Holguin. One featured home is Finca Vigia (“Lookout House”), the former residence of Ernest Hemingway.

    Postmodernism: Style and Subversion, 1970–90 presents the movement not as merely an aesthetic vocabulary, but also as a subversive attitude—a new way of looking at the world. Bringing together practitioners, theorists, and critics, this groundbreaking book assesses the impact of the phenomenon on all areas of art and design. It covers architecture, interiors, and urban planning; product, graphic, and furniture design; the fashion and style industries; and photography, film, television and video—everything from Michael Graves, Robert Venturi, and Denise Scott Brown to MTV, Grace Jones and Boy George, Bladerunner, Karl Lagerfeld, and Comme des Garçons.

    Japanese designers regularly implement radical experiments in new materials and building systems that successfully address imminent energy and resource challenges. These technological achievements are combined with an acute awareness of the ephemerality of existence, creating a rich dialogue between the concrete and the abstract.

    Addressing both the contents of interior environments and the process of interior space planning, topics include the making of rooms, the design of effective spatial sequences, functional relationships among project parts, arrangement of furniture, planning effective circulation systems, making spaces accessible, and designing safe environments with efficient emergency egress systems. Numerous exercises throughout the book facilitate learning by encouraging students to apply ideas and concepts immediately after reading about them.

    Following the path of the river, the reader travels across London, from the bucolic West to the postmodern East—from the beautiful villas and gardens of Notting Hill through Bedford Square and Georgian London to Roman ruins, the historic monuments of Greenwich, and the new city rising in the docklands. Richard Bryant’s spectacular photographs capture every aspect of London, from the distinctive beauty of the Royal parks to the formal splendor of Whitehall, and from the London Eye and the Houses of Parliament to charming Fenchurch and streetscapes unchanged for centuries. In the tradition of New York New York, Los Angeles, and Atlantic, this deluxe volume showcases breathtaking panoramic photographs—including ten stunning gatefolds that open to present six feet of cityscape. The edition will be limited to 5,000 numbered copies, each including a signed print. With an introduction by Peter Ackroyd, the most distinctive and authoritative biographer of the city to date, London is a unique and definitive tribute to one of the most amazing cities in the world.

    Four hundred watercolors represent the creative process of this renowned and influential American architect and reveal his highly personal method developed over many years, containing preliminary ideas and sketches of all major projects.Holl is known for his sculptural architecture and his virtuosic use of light, and watercolors are the ideal means to visualize these characteristic aspects of his work. At a time of rapidly changing technology in the service of architectural design, these watercolors become spectacular examples of a low-tech method. The results are invariably original works of art. The water colors are juxtaposed with photographs of the built architecture and emphasize the crucial aspect of scale.

    Featuring the work of renowned architects from around the world, this book presents 50 of the most recently completed and influential glass designs for residential, public and commercial architecture. Each project is presented with colour photographs, site plans and sections and elevations, as well as numerous construction details. There is also a descriptive text, detailed captions and in-depth information for each project, including the location, client, architectural project team, main consultants and contractors. The projects are presented in clear and concise layouts over four pages. All of the drawings are styled in the same consistent way and presented at standard architectural scales to allow for easy comparison. There is also a CD-ROM which contains all the drawings as printed in the book, in both EPS and DWG (generic CAD) formats. In addition the book features an index of architects that includes the name, address and all contact details for each architect. Detail in Contemporary Glass Architecture is an excellent reference work for practising architects as well as architecture and design students.

    Foryears his guide, regularly updated, has been the eminent authority and the most distinguished guide to the best churches to visit. This new edition, in full color throughout and illustrated with ,pre tjam 350 specially commissioned photographs, covers more than 2,500 of the very best churches in England, Scotland, and Wales. Fully updated by bestselling author Richard Surman, this is the most complete and up to date guide to Britain's church heritage.

    For nearly three decades now, Steven Holl has developed his architectural stance and his reflections on architecture with striking consistency. The success of his work can be attributed to its sculptural shaping, his interest in the poetics of space, colour, light, and material, and his fascination with scientific phenomena. With essays by Jordi Safont-Tria, Sanford Kwinter, and Steven Holl that discuss various dimensions of temporality vis a vis processes of creation, utilizations, and perception in architecture.

    SHoP's striking projects and unique business model are captured in this thoughtful and inventively organized monograph. Designed in a playful and intricate manner, SHoP: Out of Practice reflects the character and attitudes of the firm itself. Thirteen projects are shown in great detail, including the Barclays Center at Atlantic Yards, Brooklyn; a master plan for the East River Waterfront, New York; and Dunescape, winner of the annual MoMA/P.S.1 competition for a summer courtyard installation. Interspersed between the projects are thematic explorations of current issues in architecture: style, risk, innovation, sustainability, and more. Also included are five essays by the SHoP partners that offer the firm's take on practice, politics, finance, technology, and sustainability.

    This visually arresting monograph presents a decade's worth of his extraordinary designs through hundreds of stage photographs. The foreword by Radiohead's Thom Yorke reveals the relationship between band and lighting designer, while other critical essays elucidate the history of stage lighting. An ideal book for devoted Radiohead followers and those interested in the intersection of contemporary art and pop culture.

    With digital tools at their disposal, the majority of designers create spaces while sitting at their computer screens. Attitudes are changing, however: spurred by creative boredom and by a sense of being disconnected from their briefs, today’s designers seek a greater and more immediate connection with their projects. There is no better way to stimulate the imagination than by learning to draw what one sees and imparting spatial ideas by hand.Aimed at landscape- and garden-design professionals, this essential publication reintroduces the importance of learning to “see by hand,” to visualize large-scale design plans and explain them through drawing before using the digital tools that are so crucial to efficient and cost- effective building solutions. This enriched approach makes for better design, happier clients, and the most successful projects.

    With clear, simple language and a practical "can do" approach, author David Bergman coverseverything from the profession's ethical responsibility, to design structures and spaces that sustain our natural resources, to specific considerations such as rainwater harvesting, graywater recycling, passive heating techniques, solar orientation, green roofs, wind energy, daylighting, indoor air quality, material evaluation and specification, and how to work with green building certification programs.

    The story of how it came to be is a remarkable one: two young citizens with no prior experience in planning and development collaborated with their neighbors, elected officials, artists, local business owners, and leaders of burgeoning movements in horticulture and landscape architecture to create a park celebrated worldwide as a model for creatively designed, socially vibrant, ecologically sound public space.Joshua David and Robert Hammond met in 1999 at a community board meeting to consider the fate of the High Line. Built in the 1930s, it carried freight trains to the West Side when the area was defined by factories and warehouses. But when trains were replaced by truck transport, the High Line became obsolete. By century's end it was a rusty, forbidding ruin. Plants grew between the tracks, giving it a wild and striking beauty.David and Hammond loved the ruin and saw in it an opportunity to create a new way to experience their city. Over ten years, they did so. In this candid and inspiring book— lavishly illustrated—they tell how they relied on skill, luck, and good timing: a crucial court ruling, an inspiring design contest, the enthusiasm of Mayor Bloomberg, the concern for urban planning issues following 9/11. Now the High Line—a half-mile expanse of plants, paths, staircases, and framed vistas—runs through a transformed West Side and reminds us that extraordinary things are possible when creative people work together for the common good.

    Over the past ten years, a diverse group of architects, landscape architects, and artists have undertaken groundbreaking projects that propose an integration of landscape and architecture, dissolving traditional distinctions between building and environment. Groundwork: Between Landscape and Architecture examines twenty-five projects, on an international scale, that consider landscape and architecture as true reciprocal entities.Groundwork divides the projects into three design directions: Topography, Ecology, and Biocomputation. Topographic designers create projects that manipulate the ground to merge building and landscape as in Cairo Expo City in Egypt (Zaha Hadid Architects), Island City Central Park Grin Grin in Fukuoka, Japan (Toyo Ito & Associates) and the City of Culture of Galicia in Santiago de Compostela, Spain (Eisenman Architects). Ecologic designers develop environments that address issues such as energy climate and remediation, such as I’m Lost In Paris in France (R&Sie(n)), Turistroute in Eggum, Norway (Snøhetta) and Parque Atlántico in Santander, Cantabria, Spain (Batlle i Roig Arquitectes). Biocomputation designers use digital technologies to align biology and design in projects such as the Grotto Concept (Aranda/Lasch), North Side Copse House in West Sussex, England (EcoLogicStudio) and Local Code: Real Estates (Nicolas de Monchaux.)   What these projects all have in common is a desire to pay attention and homage to the liminal space where indoors and outdoors meet. The critical connection between natural and synthetic, exterior and interior space, paves the way toward a more inclusive—and indeed more alive—conceptualization of the physical world.

    Located off the west coast of Japan, the island is home to Ando-designed museums showcasing works by Walter De Maria, James Turrell, Jackson Pollock, Cy Twombly, Bruce Nauman and David Hockney, as well as public installations by Cai Guo-Qiang and Yayoi Kusama.

    Jean-Louis Cohen contends instead that during the years between the bombings of Guernica in 1937 and of Hiroshima in 1945, specific advances were fundamental to the process of modernization and led to the definitive supremacy of modernism in architecture.Centering the discussion on ten main themes, the author investigates various aspects of architecture's mobilization in the war years, as well as the trajectories of individual architects. He analyzes architectural developments worldwide and takes into account each of the major participants in the war, including the United States, Japan, Great Britain, France, Italy, the Netherlands, Germany, and the Soviet Union. The book not only focuses on plans, buildings, and technological inventions but also examines the many types of visual representation used for war purposes, enhanced by a rich array of more than 300 illustrations.

    Innovative and inspirational, these 16th and 17th century constructions demonstrate the staggering wealth and power of those responsible for their creation, notably the emperors Akbar, Jahangir and Shah Jahan. Mughal architecture is a remarkable hybrid that fuses building forms and decorative schemes from Iran and Central Asia with long-established Indian practice. The most famous examples are the Red Fort in Dehli and Taj Mahal in Agra. This beautifully illustrated book outlines the history of Mughal architecture and gardens, from stylistic developments under different emperors, to the geometric origins of Mughal design and decoration. Now the gardens are mostly lost, but Michell carefully depicts how they would have been; their structures and layouts, the favoured varieties of colorful flowers and scented plants, and the laborious but innovative methods sometimes used to create running water in areas without natural springs and streams. The author gives particular attention to the major monuments and gardens in the imperial centers of Mughal power, namely Dehli, Agra, Fatehpur Sikri and Lahore. These sections are accompanied by specially commissioned architectural plans as well as over 250 stunning color photographs. Written by a leading authority on Indian architecture, this magnificent book is the quintessential guide to Mughal architecture and garden design.

    In order to understand one’s self, it is illuminating to attempt to understand the opposite, and it is for this reason that the architecture, particularly of Australia, the biggest land-mass in the Antipodes, now attracts international interest.Peter Stutchbury’s architecture speaks for itself and is well recognised by the profession in Australia through his numerous awards. He has also attracted international attention and acclaim through publication in respected journals, his success in the 2008 International Living Steel Competition for extreme climate housing in Cherepovets, Russia, and his recent completion of the ‘Wall House’ in Japan for renowned fashion designer Issey Miyake. His buildings have yet to win the acclaim they perhaps deserve outside Australia, and are of a quality of concept and detail that compare very favourably with many internationally famous contemporaries. He carries the mantle onward of great Australian ‘masters’ from whom he has learned – including Glenn Murcutt and Richard Leplastrier.

    Among the Philippine Art Deco structures featured in this book are the Metropolitan theatre, the Far Eastern University, the Tomas Mapua house, movie theaters and residences in the cities of Manila, Sariaya, and Iloilo.

    A return to classicism and traditional styles has been widely observed in the world of architecture and design, and the houses in this volume represent the finest examples of new design based on historical precedents. These stunning residences are graced with regional character, impeccable craftsmanship, and classic beauty. Collaborating with leading landscape designers, decorators, and artisans, architects Mark Ferguson and Oscar Shamamian have produced homes that—whether country estates, suburban houses, or city apartments—are exquisite examples of timeless design for those who are inspired by historic styles. With lush photography capturing the allure of these of exteriors, interiors, and details—as well as original drawings and plans—the book will appeal to architects, interior designers, and homeowners with an eye for fine design and anyone wishing to be inspired by the poetry of history. Recognized by Architectural Digest in 2010 as being among the most important and influential architecture firms at work today, this beautifully illustrated volume presents Ferguson & Shamamian's finest work, including new houses, apartments, alterations and additions, and unbuilt design plans. Each of the nineteen homes featured in the book will be presented in detail, with full color photography and project descriptions written by the architects themselves. Eleven unbuilt projects will be represented by drawings, and eleven alterations and additions will be included in an appendix.

    By breaking the narrative into seven distinct chapters, which are both chronological and overlapping, Jencks charts the ebb and flow of the movement, the peaks and troughs of different ideas and themes. The book is highly visual. As well as providing a chronological account of the movement, each chapter also has a special feature on the major works of a given period. The first up-to-date narrative of Post-Modern Architecture - other major books on the subject were written 20 years ago. An accessible narrative that will appeal to students who are new to the subject, as well as those who can remember its heyday in the 70s and 80s.

    Photographing on the ground, in the buildings and by air and water, Reyes Taubman believes that when buildings and landscape are manipulated by nature and time they become more visually compelling than almost any architectural intervention. Reyes Taubman is not pessimistic, however: "It is not a disgrace but a privilege and an obligation to listen to the stories only ruins can tell," she writes in regard to this project. "They tell us a lot about who we were, what we once valued most, and perhaps where we may be going." As Reyes Taubman scrutinizes this 138-square-mile metropolis in transition, she pays particular attention to the scale and the solidity of the buildings that characterized the former "Motor City" at the height of its industrial wealth and power. More than a photographic saturation job of a single city, Detroit: 138 Square Miles provides contextual perspective in an extended caption section in which Reyes Taubman collaborated with University of Michigan professors Robert Fishman and Michael McCulloch to emphasize the social imperatives driving her documentation. An essay by native Detroiter and bestselling author Elmore Leonard addresses the social and cultural significance of the post-industrial condition of this metropolis.

    But if the digital has created a "paradigm shift" for architecture, which paradigm is shifting? In The Alphabet and the Algorithm, Mario Carpo points to one key practice of modernity: the making of identical copies. Carpo highlights two examples of identicality crucial to the shaping of architectural modernity: in the fifteenth century, Leon Battista Alberti's invention of architectural design, according to which a building is an identical copy of the architect's design; and, in the nineteenth and twentieth centuries, the mass production of identical copies from mechanical master models, matrixes, imprints, or molds. The modern power of the identical, Carpo argues, came to an end with the rise of digital technologies. Everything digital is variable. In architecture, this means the end of notational limitations, of mechanical standardization, and of the Albertian, authorial way of building by design. Charting the rise and fall of the paradigm of identicality, Carpo compares new forms of postindustrial digital craftsmanship to hand-making and the cultures and technologies of variations that existed before the coming of machine-made, identical copies. Carpo reviews the unfolding of digitally based design and construction from the early 1990s to the present, and suggests a new agenda for architecture in an age of variable objects and of generic and participatory authorship.

    Yet also woven into the historical landscapeof this small county nestled within the Shenandoah Valley is an unusual collection of historic homes.  In this fascinating architectural exploration, John C. Allen, Jr. details his expansive seven-year survey of Jefferson County’s historic residences. By focusing on dwellings built from the mid-eighteenth century to the arrival of the railroad and canal in 1835, Allen unfolds the unique story of this area’s early building traditions and architectural innovations. The 250 buildings included in this work—from the plantation homes of the Washington family to the log houses of yeomen farmers—reveal the unique development of this region, as Allen categorizes structures and establishes patterns of construction, plan, and style.Allen’s refreshing perspective illuminates the vibrant vernacular architecture of Jefferson County, connecting the housing of this area to the rich history of the Shenandoah Valley. Varying features of house siting, plan types, construction techniques, building materials, outbuildings, and exterior and interior detailing illustrate the blending of German, Scots-Irish, English, and African cultures into a distinct, regional style. Adorned with over seven hundred stylish photographs by Walter Smalling and elegant drawings, floor plans, and maps by Andrew Lewis, Uncommon Vernacular explores and preserves this historic area’s rich architectural heritage.

    The form studies show the translation of digitally conceived structures into 1:1 physical prototypes.The constructs shown here do not pretend to be perfect finalized objects; they are to be seen as experiments with generative CAD tools, algorithms, and scripting applications, although some of the outcomes look like they are ready to be put into mass production.The insights which arose from these experiments are presented and organized within five production techniques: cross segmentation, accumulation, frameworks, loops, and folding.

    This volume gathers his findings.

    Holt’s wide-ranging body of work since the late 1960s includes Land art—particularly the monumental Sun Tunnels (1973-1976), major works of sculpture, installations, film, and video. A comprehensive representation of her working process in both word and image, this book illuminates Holt’s interest in physical space and reveals how the geographic variety and boundlessness of the American landscape afforded the artist numerous opportunities to develop large-scale projects beyond the confines of New York City’s gallery walls. Essays by a diverse and distinguished group of contributors—including Pamela M. Lee, Lucy R. Lippard, Ines Schaber, and Matthew Coolidge—chart Holt’s fascinating trajectory from her initial experiments with sound, light, and industrial materials to major site interventions and environmental sculpture. James Meyer’s valuable interview with Holt and Julia Alderson’s illustrated chronology expand our knowledge of this groundbreaking artist and the crucial contexts in which she worked. More than twenty original writings by the artist and a rare selection of her concrete poetry, documentary photographs, and preparatory drawings reveal Holt’s revolutionary concepts of space, time, optics, and scale.

    But their owners have opened their doors and allowed Dan Cruickshank to roam the corridors and rummage in the cellars as he teases out the story of each house - who built them, the generations who lived in them, and the families who lost them. Along the way he has uncovered tales of excess and profligacy, tragedy, comedy, power and ambition.And as these intriguing narratives take shape, Dan shows how the story of each house is inseparable from the social and economic history of Britain. Each one is built as a wave of economic development crests, or crumbles. Each one's architecture and design is thus expressive of the aims, strengths and frailties of those who built them. Together they plot the psychological, economic and social route map of our country's ruling class in a rich new telling of our island story.

    This process of designing places to display high-style objects has created a new venue for cutting-edge architecture and transformed city streetscapes.This exploration of Louis Vuitton’s international stores, as well as industrial sites and unrealized projects, includes interviews with some of today’s most talented architects and designers who discuss the beautiful and complex structures they have produced in collaboration with Louis Vuitton. This book examines the physical aspects of these buildings as well as the ideas that went into their composition. Acting as both a backdrop for luxurious retail goods and the physical manifestation of the brand, these spaces are a genre unto themselves that invite exploration. With luxurious finishes and unexpected textures, these fantastic buildings represent the intersection of fashion and interior design.  The book includes interviews with Jun Aoki, Peter Marino, Christian de Portzamparc, David McNulty, and Christian Reyne.

    We're talking of course about New York's legendary rooftop gardens. Like their predecessors in Babylon, these urban oases truly are one of the world's great wonders. Set amid the concrete canyons, these horticultural hideaways offer respite from New York's relentless pace. High above the city that never sleeps, these serene spaces offer a chance to laze, potter and nap. The gardens' plants, furnishing, and the landscape engineering that makes them possible are sure to inspire awe. Set against dramatic cityscapes, these are some of the most fascinating green spaces on the planet.

    Fifty State Capitols shows how the architecture of state capitols contributes to the success of representative government. The formality, timelessness, and public grandeur of representative government are on public display at every one of Americas fifty state capitols. Fifty State Capitols describes the majesty and stateliness of each state capitols exterior form and selected interior details, in words and photographs, including a brief history of the building.

    Alongside works in public spaces as well as site-specific installations, the islands are also full of numerous museums and collections of contemporary art. This publication offers a comprehensive documentation of this unique cultural landscape surrounded by Japan's Inland Sea. The photographs by the Dutch photographer Iwan Baan, ranging from tiny details to giant panoramas, create a comprehensive portrait of the islands with their fluid transitions between nature, art, and architecture. Numerous texts introduce readers to the individual areas and projects that are either permanently on display on the islands or have taken place there temporarily. In addition, other essays deal with the island as a cultural concept and phenomenon. Among others, the book presents buildings by Kazuyo Sejima, Ruye Nishizawa, Tadao Ando, and Hiroshi Sambuichi.

    Frank Lloyd Wright was an architect of vast and unprecedented vision, whose work is not only still admired by the critics and carefully studied by historians but is also widely beloved. Comfortable spaces, humanly scaled, with extraordinary attention to detail-as seen in a range of architectural forms-are at the center of Wright’s enduring appeal.This vision and attention is nowhere more evident than in the drawings. It has been said that had Wright left us only drawings, and not his buildings as well, he would still be celebrated for his brilliant artistry, and this is borne out here. Even more significant, and shown here as never before, are the magical first moments of invention and inspiration-Wright’s earliest sketches, some never before published-which offer unique insight into the mind of the master architect.Frank Lloyd Wright Designs is the most important and comprehensive book to be published on the drawings, designs, conceptual sketches, elevations, and plans of Wright, with particular emphasis on the development of certain important projects. It includes the best-known and beloved projects-like Fallingwater, The Coonley House, Midway Gardens, the Guggenheim, the Imperial Hotel-as well as a range of intriguing, unfamiliar, and previously unpublished drawings by Wright.

    Now it's time to make a book. Where they Create captures thirty studios from all around the world; studios of painters, sculptors, designers, architects, advertising agencies, and many others, some very well known, others only starting out. The studios of Wallpaper* magazine, Clive Wilkinson Architects, Jeremiah Goodman, and Opening Ceremony are included. Important to Barbera is that the photographed studios are somehow connected to someone Barbera knows and that he likes the creative space or the work they do.Where They Create is also a break from the work Barbera does for several interior magazines, where everything is styled and considered. Instead the images for this book are as Barbera finds the spaces, un-styled and raw. Just the way they are. Each project is described with personal information from the owner of the studio and Barbera himself. Alexandra Onderwater has written for many international magazines, including Wallpaper*, i-D, and Frame.Paul Barbera was born in Melbourne, Australia, but now works between Melbourne and Amsterdam, living in various locations that include Berlin, Prague, Singapore, and Rome. During this time, Paul established himself as an interiors and fashion photographer, working with publications like View on Colour, Bloom, and Vogue Living.

    The stories have been exhibited at the Royal Academy of Arts and the Victoria and Albert Museum but are collected for the first time in a single volume, laid out as they were designed to be seen as one phantasmogoric city vision.Painstakingly constructed, the stories assemble a sequence of improbable marriages between architecture and story, encompassing a retelling of the Three Little Pigs at Smithfield, a dating agency at Battersea, and a ringed transport system manifesting as a celestial river over the great metropolis. Drawing on a wealth of literary symbolism from Carroll's Alice in Wonderland to Dickens's A Tale of Two Cities and imbued with humour and irony, the book builds on London's rich mix of extravagance and fictive tradition.Enthralling, inspirational and entertaining, this cabinet of curiosity and wonder depicts a vision of the city that is immoral, anarchic, and unscientific, and at the same time, glorious, ravishing and a pleasure to behold.

    Societies and politicians are desperately looking for solutions and ideas for the urban areas of the future. That is why the development and discussion of utopias are next to sustainability the most current topics in contemporary architecture. We have learned from the 1960s and 1970s that utopian visions are one of the most important catalysts for fundamental change. Modern wind farms for generating energy, for example, were initially contemplated at that time and are now permanent fixtures in our landscapes.Utopia Forever is a collection of current projects and concepts from architecture, city planning, urbanism, and art that point beyond the restrictions of the factual to unleash the potential of creative visions. In contrast to the largely ideal-theoretic approaches of the past, today s utopias take the necessity for societal changes into account. The projects in this book explore how current challenges for architecture, mobility, and energy as well as the logistics of food consumption and waste removal can be met. Whether created by established architects and artists or new talents, the projects in Utopia Forever are radically shaping our notions of life in the future.

    TOGAF Version 9.1 is a maintenance update to TOGAF 9, addressing comments raised since the introduction of TOGAF 9 in 2009. It retains the major features and structure of TOGAF 9, thereby preserving existing investment in TOGAF, and adds further detail and clarification to what is already proven.It may be used freely by any organization wishing to develop an enterprise architecture for use within that organization (subject to the Conditions of Use). This Book is divided into seven parts:• Part I - IntroductionThis part provides a high-level introduction to the key concepts of enterprise architecture and in particular the TOGAF approach. It contains the definitions of terms used throughout TOGAF and release notes detailing the changes between this version and the previous version of TOGAF.• Part II - Architecture Development MethodThis is the core of TOGAF. It describes the TOGAF Architecture Development Method (ADM) – a step-by-step approach to developing an enterprise architecture.• Part III - ADM Guidelines & TechniquesThis part contains a collection of guidelines and techniques available for use in applying TOGAF and the TOGAF ADM.• Part IV - Architecture Content FrameworkThis part describes the TOGAF content framework, including a structured metamodel for architectural artifacts, the use of re-usable architecture building blocks, and an overview of typical architecture deliverables.• Part V - Enterprise Continuum & ToolsThis part discusses appropriate taxonomies and tools to categorize and store the outputs of architecture activity within an enterprise.• Part VI - TOGAF Reference ModelsThis part provides a selection of architectural reference models, which includes the TOGAF Foundation Architecture, and the Integrated Information Infrastructure Reference Model (III-RM).

    What he found there was to send him on an incredible journey - a quest to discover the Seven Wonders of the World.

    Its three main facades, crowned by towers, contain a mass of details full of symbolism and mysticism."

    Subtly blending elements from Iran, West Asia, southern India, and sometimes Europe, as well as southern and northern India, the arts produced under these sultanates are markedly different from those of the rest of India and especially from those created under Mughal patronage. This publication, dedicated to the unique artistic output of the Deccan, is the result of a symposium held at The Metropolitan Museum of Art in 2008. Updating prior research in this field, the essays in this volume respond to and challenge earlier perceptions of Deccani art by bringing to light previously unpublished paintings, investigating new works of literature, identifying otherwise unattributed carpets and textiles (including several in the Metropolitan Museum), and supplying fresh interpretations of rarely studied architectural monuments. Throughout, the Deccan's connections to the wider world are explored. Special features of the book are the illustration of all thirty-four paintings from a 16th-century copy of the poem the Pem Nem, and new photography by Amit Pasricha of the Ibrahim Rauza in Bijapur, with the first full transcription and translation of the tomb's inscriptions.

    Originally built in 1947 and continually renovated by the architect, it would come to be considered Barrag�n's masterpiece, the laboratory in which he developed his new architectural language. Today the house ranks as one of the most important examples of modern architecture in Mexico, and was named a World Heritage Site by UNESCO in 2004. Luis Barrag�n: His House offers a complete visual tour of the house and studio, as well as the superb garden that surrounds it. Hitherto unpublished documents and images in the possession of the Fundaci�n de Arquitectura Tapat�a and other collectors place the work in the context of Barrag�n's career. The entire house has been specially photographed for this volume, with meticulous attention being given to the treatment of color and light so essential to Barrag�n's work. This book includes three essays by experts in Barrag�n's work: "The House and Its Cultural Context," by Daniel Garza Usabiaga, "Architecture: A Personal Space," by Juan Palomar and a detailed account of Barrag�n's library and collection of art works and objects by Alfonso Alfaro.

    Through systematic exploration of the period's verbal and material culture as complementary art forms, Garner argues that in Anglo-Saxon England the arts of poetry and building emerged from the same cultural matrix. Not only did Anglo-Saxon builders and poets draw demonstrably from many of the same traditionally encoded motifs and images, but so rhetorically powerful was the period's architectural poetics that its expressive force continued in literature and architecture produced long after the Norman Conquest.Far from conceiving this inherited tradition as monolithic in nature, Structuring Spaces foregrounds the complex interface of orality and literacy as a nexus of varied and multivalent cultural traditions that influenced the production of texts and buildings alike. After establishing a model of architectural poetics based on oral theory and vernacular architecture, Garner explores fictionalized buildings in such works as Beowulf and the Ruin, architectural representation in Old English adaptations of Greek and Latin works, uses of architectural metaphor, and themes of buildings in Anglo-Saxon maxims, riddles, elegies, hagiographies, and charms. Her book draws on scholarship from art history, archaeology, anthropology, and architecture, as well as the great wealth of studies addressing the literature itself."Detailing the deeply interconnected relationship of Anglo-Saxon oral poetics and the architectonics of constructed space in the period, Lori Garner's Structuring Spaces makes a significant contribution. Her ability to put the material culture of the period, despite the truly fragmentary nature of the surviving evidence, into a direct and mutually illuminating dialogue with the discourse of oral poetics is very impressive and of considerable value to scholars in the several fields of medieval literature, medieval architecture, and oral theory." --Mark C. Amodio, Vassar College"In this wide-ranging and lavishly-illustrated study, Lori Garner effectively aligns the established approach of oral poetics with insights from the emerging field of vernacular architecture. From Heorot to Grendel's mere, from the Mermedonian prison of Andreas to the nest of The Phoenix, from the Wife's earth-hall to Holofernes' tent, Garner's sensitive readings of the poetics of built spaces in Old English poetry open up new perspectives on "conventional" imagery that we only thought we knew how to read." --Charles D. Wright, University of Illinois

    Consequently, it offers an understanding of contemporary conditions and phenomena, ranging from the ubiquity of landmark buildings to the celebrity status of architects. It concerns the period spanning from 1966 to the first years of the current century - a period which saw radical change in economy, politics, and culture and a period in which architecture radically transformed, substituting the alleged dreariness of modernism with spectacle.

    Aalto, who is also known for his furniture and glassware, worked in a unique style that blended modernism and traditional vernacular architecture. Authors Jari and Sirkkaliisa Jetsonen (Finnish Summer Houses) present twenty-six of Aalto's innovative residences—from small summer homes and postwar standardized housing to large housing complexes for industrial commissions—built between the 1920s to the 1960s.

    Having spent much of his career in a late Victorian world that bristled with fussy ornament for ornament's sake, Sullivan (American, 1856-1924) refuted this style with the now famous dictum "Form follows function." This break from tradition is perhaps most evident in Sullivan's strides to reimagine the commercial space--from America's earliest skyscrapers to the small-town banks that populated the architect's commissions in the second half of his career.In "Louis Sullivan: Creating a New American Architecture, " nearly 200 photographs with descriptive captions document Sullivan's genius for modern design. Patrick Cannon introduces each chapter and discusses the influences that shaped Sullivan's illustrious career. Rare historical photographs chronicle those buildings that, sadly, have since been destroyed, while James Caulfield's contemporary photography captures those still standing.

    Designed by John Merven Carrère and Thomas Hastings, and inspired by the great classical buildings in Paris and Rome, it was completed in 1911. The library boasts a magnificent exterior, but that is only the beginning. In the interior, one splendid hall follows another, an awesome gallery leads to richly decorated rooms, and stairways are vaulted in marble. From the terrace to the breathtaking Main Reading Room is a triumphal way. All the devices of the classical tradition, the main artistic current of Western civilization, are brought into play. Maidens, cherubs, and satyr masks look down from ceilings. Lions' heads, paws, rams' heads, and griffins are on every side. In this beautiful volume, featuring new color photography by Anne Day, every facet of the building is described, including its inception and construction.

     Provides expert commentary on various standard forms and their use in documenting design decisions made during project construction and providing for clear project communications. Discusses the roles and responsibilities of all parties to construction agreements and their effective management. Packaged with the book is an access code which provides access to a password-protected Web site with bonus content, including a PDF of the printed book and copies of CSI format documents, such as UniFormat and SectionFormat/PageFormat. This easy-to-follow guide offers invaluable tips all construction professionals can immediately put to use for improving the overall skill and efficiency of document preparation that accurately conveys stated goals, ensuring that all interested individuals receive fair representation throughout the entire construction process.Part of the CSI Practice Guides, a library of comprehensive references specifically and carefully designed for the construction professional. Each book examines important concepts and best practices integral to a particular aspect of the building process.

    24 projects have been collected including the Sines Cultural Centre, the Santa Maria Lighthouse Museum, a Hotel in Dublin, the Home for the Elderly in Alcácer do Sal, a Hotel and Restaurant in Biscaia, the Lisbon Central Library and Municipal Archive, a Multipurpose Building in Dubai, a School in Vila Nova da Barquinha, a House in Coruche, a House in Monsaraz, a House in Leiria, the EDP Head Office, a Call Center in Santo Tirso, the Furnas Monitoring and Research Centre, the Parque de los Cuentos Museum, the Bom Sucesso Housing, the Mar de Oriente Shops and Office Building. Interview with Aires Mateus by Ricardo Carhalvo and an essay by Juan Antonio Cortés.

    And when, soon after, the French government purchased an armless statue of Aphrodite on the island of Melos and displayed it triumphantly in the Louvre, it too identified France as the natural heir of antiquity. The Austrians and Germans, for their part, unearthed and brought home vast quantities of sculpture and architecture from throughout the Near East. Beginning in the mid-eighteenth century, European scholars and amateurs poured into Greece, Turkey, Egypt, Syria, Lebanon, and Mesopotamia to explore, dig, catalogue, and cart home the material remains of the ancient world. The collections they amassed became celebrated museums; the scholarly techniques they developed formed the foundation of modern, scientific archaeology. But at the time, the lands they traversed and the antiquities they found belonged neither to the empires of Europe nor to local states; rather, the entire territory was the possession of the Ottoman Empire. What did the Ottomans think of the European passion for die past? What was their own view of the ancient world and its heritage?Scramble for the Past explores the historiography of archaeology in the Ottoman domains between the founding of London's British Museum in 1753 and that of Istanbul's Evkaf Museum (Museum of Islamic Art) in 1914. Essays by fifteen leading international scholars explore the relationship of archaeology to politics, ideology, and national identity as well as the influences of the ancient finds on popular culture. Filled with anecdote and incident, richly illustrated with period paintings, sculptures, postcards, photographs, documents, and rarities from the Ottoman archives

    Giotto was the first artist since antiquity to feature highly-detailed architecture in a primary role in his paintings. Francesco Benelli demonstrates how architecture was used to create pictorial space, one of Giotto's key inventions. He argues that Giotto's innovation was driven by a new attention to classical sources, including low reliefs, mosaics, mural paintings, coins, and Roman ruins. The book shows how Giotto's images of fictive buildings, as well as portraits of well-known monuments, both ancient and contemporary, play an important role in the overall narrative, iconography, and meaning of his works. The conventions established by Giotto remained at the heart of early modern Italian painting until the sixteenth century.

    It traces three distinct design traditions — the Native American center place with kiva and terraced residential blocks, the Hispanic plaza with church and courtyard houses, and the Anglo square with courthouse and business blocks. This landmark volume has resulted from a multi-year research project involving 50 students, a half dozen faculty members, and outside experts working through the Historic Preservation and Regionalism program at the University of New Mexico School of Architecture and Planning. New Mexico's plazas, like urban spaces everywhere, are gaining renewed attention in this time when the challenges of sustainability have sparked the Smart Growth movement, urban revitalization and intensified historic preservation. Detailing the success of restoration projects, this book shows how to encourage heritage tourism in the service of, rather than at the expense of, local quality of life and community sustainability.

    According to Piotrowski, material structures enable people to think in new ways—distill emerging or alter existing worldviews—before words can stabilize them as conventional narratives.Combining design thinking with academic methods of inquiry, Piotrowski traces ancient to modern architectural histories and—through critical readings of select buildings—examines the role of nonverbal exchanges in the development of an accumulated Western identity. Unlike studies that organize around the traditional scheme of periodization in history, Architecture of Thought uses an interdisciplinary approach to investigate a wide spectrum of cultural productions in different times and places. Operating from the assertion that buildings are the most permanent record of unself-conscious beliefs and attitudes, it discusses Byzantium and the West after iconoclasm, the conquest and colonization of Mesoamerica, the Reformation and Counter-Reformation in Eastern Europe, the rise of the culture of consumerism in Victorian England, and High Modernism as its consequence. By moving beyond the assumption that historical structures reflect transcendental values and deterministic laws of physics or economy or have been shaped by self-conscious individuals, Piotrowski challenges the traditional knowledge of what architecture is and can be.

    In march 2010 he died in a car-crash. The book is an updated edition and contains the complete work of the architect Raimund Abraham. It has a three-part structure: 1) imaginary architecture, 2) projects, 3) realizations. Texts are by Raimund Abraham, Kenneth Frampton, John Hejduk, Wieland Schmied and Lebbeus Woods. With an introductory essay by Norbert Miller. The drawing of architecture occupies a central position in the evolution of his work but challenges the predominant notion of built architecture. Drawing demands an autonomous reality, manifestation of his architectural concept. The book also contains his latest realized projects as there are his own house in Mexico and the House for Musicians at the Museumsinsel Hombroich (Germany), which will be completed in 2011.

    However, while similarities and crossovers between architecture and SF have proliferated throughout the past century, the home is often overshadowed by the spectacle of 'otherness'. The study of the familiar (home) within the alien (SF) creates a unique cultural lens through which to reflect on our current architectural condition. SF has always been linked with alienation; however, the conditions of such alienation, and hence notions of home, have evidently changed. There is often a perceived comprehension of the familiar that atrophies the inquisitive and interpretive processes commonly activated when confronting the unfamiliar. Thus, by utilizing the estranging qualities of SF to look at a concept inherently linked to its perceived opposite - the home - a unique critical analysis with particular relevance for contemporary architecture is made possible.

    Its climate, unpretentious life style, and magnificent scenery attracted artists as diverse as Joseph Lindon Smith, George de Forest Brush, Abbott Thayer and his young proteges Frank Benson and Rockwell Kent. Mark Twain, who summered there twice, called it "the one place I have always longed for, but never knew existed in fact until now." Less well known, but equally fascinating, is Dublin's claim as home to just about every architectural style and several major domestic architects of the late nineteenth and early twentieth century. On its slopes, overlooking deep, spring-fed Dublin Lake and the looming Mount Monadnock, we find a virtual encyclopedia of building styles, ranging from the plain and unadorned to the most ornate and ambitious. A list of the architects who plied their trade in this small town reads like a list from Who's Who: Charles A. Platt, Peabody & Stearns, Rotch & Tilden, Henry Vaughan, and Lois Lilley Howe.In this immensely readable and enjoyable survey, veteran architectural historian William Morgan takes the reader on a verbally vivid and visually varied tour of the terrain, concentrating not only on the traditional and expected examples that crop up in Dublin as often as elsewhere, but also on the eccentric, unusual, and often unique extravaganzas that pepper its slopes. For Dublin was a great melting pot, a place which for a century had both the money and the taste to indulge architects of all stripes and styles, and to give them commissions to design among the most beautiful and original examples their talents could produce.Profusely illustrated, comprehensive in its treatment, and written with verve, style, and a scholar's eye, Monadnock Summer will be recognized as among the best books on New England architecture to have been published in the last 25 years.

    Studio Peregalli is the master of making interiors look brilliantly timeworn. Partners Laura Sartori Rimini and Roberto Peregalli have a distinctive ability to work in virtually every historical style-from Renaissance to Victorian-to create interiors that are atmospheric and magical, conjuring up a real or imagined past.The Invention of the Past profiles the firm’s domestic and public projects, including residences for such leading families as the Etros and the Zegnas. Organized by house elements-facades, libraries, dining rooms, bedrooms, and other spaces-the book focuses on their opulent and whimsical furnishings and old-world craftsmanship. Studio Peregalli juxtaposes authentic works of a particular period with replicated pieces to create an illusion that becomes something real and evocative. The book features lush color photographs of their oeuvre, along with reproductions of drawings, maquettes, and plaster models.

    --Yaromir Steiner, Founder, Chief Executive Officer, Steiner + Associates ...the most comprehensive and expansive book ever written on the subject of Retail Real Estate Development. Gibbs is by far the most prominent advocate for reforming retail planning and development in order to return American cities to economic and physical prominence. -Stefanos Polyzoides, Moule & Polyzoides Architects & Urbanists The retail environment has evolved rapidly in the past few decades, with the retailing industry and its placement and design of brick-and-mortar locations changing with evolving demographics, shopping behavior, transportation options and a desire in recent years for more unique shopping environments.Written by a leading expert, this is a guide to planning for retail development for urban planners, urban designers and architects. It includes an overview of history of retail design, a look at retail and merchandising trends, and principles for current retail developments.Principles of Urban Retail Planning and Development will:Provide insight and techniques necessary for historic downtowns and new urban communities to compete with modern suburban shopping centers. Promote sustainable community building and development by making it more profitable for the shopping center industry to invest in historic cities or to develop walkable urban communities. Includes case studies of recent good examples of retail development

    1922 to 1935. Fired by the radical new language of Constructivist artists, such architects as Konstantin Melnikov, Moisei Ginzburg, and the Vesnin brothers produced designs whose innovative style embodied the energy and optimism of the new Soviet Socialist state. Streamlined, flat-roofed, and white-walled, their extraordinarily novel buildings must have seemed like alien forms. Architectural photographer Richard Pare has spent the last 15 years documenting the remains and ruins of these structures. Here, his spectacular photographs are juxtaposed with vintage images, ephemera, and drawings and paintings by artists such as Malevich, Tatlin, Popova, and Lissitzky.

    The essential companion to the terms used in the 'Pevsner Architectural Guides'.

    Richly informative."—Christopher Long, West 86th: A Journal of Decorative Arts, Design History, and Material Culture"Claire Beck Loos, a gifted photographer and writer, … reveals much about her ex-husband’s mercurial persona in a series of conversationally-toned vignettes …. Claire died tragically at 38, at the Riga concentration camp; her memoir thus becomes a haunting tribute not only to Loos's talents, but to her own.."—Judy Pollan, Modernism Magazine“Her artist’s way of encapsulating the essential about Loos in a mixture of camera-sharp observations is mitigated by an affectionate regard for the brilliant, but deeply flawed man that he was. The book is hugely perceptive and beautifully written.”—Dr. Irena Murray, Former Director of the British Architectural Library at the Royal Institute of British Architects (RIBA), London"Claire [Beck Loos]'s book reveals a sharp eye for capturing personality, story and zeitgeist.”—Stewart Oksenhorn, Arts Editor, Aspen Times"A highly personable and ultimately a sorrowful book about Loos in his declining years … provides a host of important insights into the man, his intellectual circle, and most importantly his approach to the practice of architecture. The memoir is skillfully and lucidly framed by introductory essays and an Afterword."—Dr. Harry Mallgrave, Professor of Architecture, Illinois Institute of Technology, Chicago"[In] short tales of an afternoon or a conversation … you get a very clear sense of who Loos was as a person, or at least how Claire remembers him: an eccentric who flits between intense joy and fury, generous to a fault, unafraid to disagree intensely with a client, full of quips and contradictory ways of seeing the world. It is indeed a personal portrait, and a surprising, quite wonderful little book.”—Nicole Stock, Urbis architecture magazine, New Zealand"In razor-sharp anecdotes, some a paragraph, some several pages, Claire writes in the present tense. The result is altogether Loosian: timeless, with as little ornament, but as much empathy, as any protégé could deliver. Here, theory in the flesh walks in.”—Barbara Lamprecht, author of Neutra: Complete Works in a book review for the Society of Architectural HistoriansAdolf Loos—A Private Portrait is an unusual, literary biography featuring lively, often humorous, “snapshots” of Viennese-Czechoslovak architect Adolf Loos. An intimate collection of vignettes reveal Loos’ personality, temperament and philosophy during the last years of his life (1929-1933) and the ways in which he helped shape Modern architecture. This translation, by Constance C. Pontasch and Nicholas Saunders, is the first English edition, the book having enjoyed several reprints in German.The author, Claire Beck Loos, was a photographer and Adolf Loos’ last wife. She was born in 1904 in Czechoslovakia; her family were Jewish industrialists and important early clients of Loos, commissioning several apartments in Pilsen and works by the architect’s friend Oskar Kokoschka. In addition to being a biography of her husband, Adolf Loos—A Private Portrait also serves as a self-portrait of Claire, a vibrant young artist who died a tragic and untimely death at Riga, a Nazi concentration camp, in 1942. The book includes supplemental texts by Claire’s niece Janet Beck Wilson, biographical materials and previously unpublished artistic photographs by the author.

    Noyes, charging him with reinventing IBM’s corporate image, from stationery and curtains to products such as typewriters and computers and to laboratory and administration buildings. What followed—a story told in full for the first time in John Harwood’s The Interface—remade IBM in a way that would also transform the relationships between design, computer science, and corporate culture.IBM’s program assembled a cast of leading figures in American design: Noyes, Charles Eames, Paul Rand, George Nelson, and Edgar Kaufmann Jr. The Interface offers a detailed account of the key role these designers played in shaping both the computer and the multinational corporation. Harwood describes a surprising inverse effect: the influence of computer and corporation on the theory and practice of design. Here we see how, in the period stretching from the “invention” of the computer during World War II to the appearance of the personal computer in the mid-1970s, disciplines once well outside the realm of architectural design—information and management theory, cybernetics, ergonomics, computer science—became integral aspects of design.As the first critical history of the industrial design of the computer, of Eliot Noyes’s career, and of some of the most important work of the Office of Charles and Ray Eames, The Interface supplies a crucial chapter in the story of architecture and design in postwar America—and an invaluable perspective on the computer and corporate cultures of today."