In Vertical, Stephen Graham rewrites the city at every level: how the geography of inequality, politics, and identity is determined in terms of above and below. Starting at the edge of earth's atmosphere and, in a series of riveting studies, descending through each layer, Graham explores the world of drones, the city from the viewpoint of an aerial bomber, the design of sidewalks and the hidden depths of underground bunkers. He asks: why was Dubai built to be seen from Google Earth? How do the super-rich in Sao Paulo live in their penthouses far above the street? Why do London billionaires build vast subterranean basements? And how do the technology of elevators and subversive urban explorers shape life on the surface and subsurface of the earth? Vertical will make you look at the world around you anew: this is a revolution in understanding your place in the world.

    Now revised, enlarged and expanded, Kenneth Frampton brings the story up to date and adds an entirely new concluding chapter that focuses on four countries where individual talent and enlightened patronage have combined to produce a comprehensive and convincing architectural culture: Finland, France, Spain and Japan. The bibliography has also been reviewed and extended, making this volume more indispensable than ever.

    On both economic and psychological grounds, author Matthew B. Crawford questions the educational imperative of turning everyone into a "knowledge worker," based on a misguided separation of thinking from doing. Using his own experience as an electrician and mechanic, Crawford presents a wonderfully articulated call for self-reliance and a moving reflection on how we can live concretely in an ever more abstract world.

    Among significant mid-century interiors, none are more celebrated yet underpublished as the homes created by architects and interior designers for themselves. This collection of newly commissioned photographs presents the most compelling homes by influential mid-century designers, such as Russel Wright, George Nakashima, Harry Bertoia, Charles and Ray Eames, and Eva Zeisel, among others. Intimate as well as revelatory, Williamson’s photographs show these creative homes as they were lived in by their designers: Walter Gropius’s historic Bauhaus home in Massachusetts; Albert Frey’s floating modernist aerie on a Palm Springs rock outcropping; Wharton Esherick’s completely handmade Pennsylvania house, from the organic handcarved staircase to the iconic furniture. Personal and breathtaking by turn—these homes are exemplary studies of domestic modernism at its warmest and most creative.

    Leonard examines the “stuff” we use everyday, offering a galvanizing critique and steps for a changed planet.The Story of Stuff was received with widespread enthusiasm in hardcover, by everyone from Stephen Colbert to Tavis Smiley to George Stephanopolous on Good Morning America, as well as far-reaching print and blog coverage. Uncovering and communicating a critically important idea—that there is an intentional system behind our patterns of consumption and disposal—Annie Leonard transforms how we think about our lives and our relationship to the planet.From sneaking into factories and dumps around the world to visiting textile workers in Haiti and children mining coltan for cell phones in the Congo, Leonard, named one of Time magazine’s 100 environmental heroes of 2009, highlights each step of the materials economy and its actual effect on the earth and the people who live near sites like these.With curiosity, compassion, and humor, Leonard shares concrete steps for taking action at the individual and political level that will bring about sustainability, community health, and economic justice. Embraced by teachers, parents, churches, community centers, activists, and everyday readers, The Story of Stuff will be a long-lived classic.

    In each room, Gallagher explores many of our deep but often unarticulated intuitions about the power of place. Drawing on the latest research in behavioral science, an overview of cultural history, and interviews with leading architects and designers, she shows us how our homes not only reflect who we are, but also influence our thoughts, feelings, and actions.Using a variety of examples -- from famous historical homes to experimental rustic pods -- Gallagher examines why traditional dining rooms and living rooms have given way to "great rooms," how the oversize suburban garage threatens civility, how kids' rooms can affect their development, and why Americans increasingly think of their homes as "sanctuaries" and "refuges."House Thinking's unique perspective raises provocative questions: How does your entryway prime you for experiencing your home? Do you really need a mega-kitchen, or just a microwave? What makes a bedroom a sensual oasis? How can your bathroom exacerbate your worst fears?It's simply not enough to think of our domestic spaces as design statements or as dumping grounds for our stuff. We need to approach our homes in a new way: as environments that actively affect us and our quality of life. Stressing the home's substance over its style, House Thinking is a surprising look at how we live -- and how we could.

    Worldwide in scope, it combines a clear historical outline with masterly analysis and interpretation. Technical, economic, social and intellectual developments are brought together in a comprehensive narrative which provides a setting for the detailed examination of buildings. Throughout the book the author's focus is on the individual architect, and on the qualities that give outstanding buildings their lasting value.For the third edition, the text has been radically revised and expanded, incorporating much new material and a fresh appreciation of regional identity and variety. Seven chapters are entirely new, including expanded coverage of recent world architecture.Described by James Ackerman of Harvard University as "immeasurably the finest work covering this field in existence", this book presents a penetrating analysis of the modern tradition and its origins, tracing the creative interaction between old and new that has generated such an astonishing richness of architectural forms across the world and throughout the century.

    In the bustling, cluttered arcades, street and interior merge and historical time is broken up into kaleidoscopic distractions and displays of ephemera. Here, at a distance from what is normally meant by "progress," Benjamin finds the lost time(s) embedded in the spaces of things.

    . . Splendidly presented, filled with thoughtful and brilliant intuitive insights." —The New Republic In a brilliant synthesis of words and pictures, Edmund N. Bacon relates historical examples to modern principles of urban planning. He vividly demonstrates how the work of great architects and planners of the past can influence subsequent development and be continued by later generations. By illuminating the historical background of urban design, Bacon also shows us the fundamental forces and considerations that determine the form of a great city. Perhaps the most significant of these are simultaneous movement systems—the paths of pedestrian and vehicular traffic, public and private transportation—that serve as the dominant organizing force, and Bacon looks at movement systems in cities such as London, Rome, and New York. He also stresses the importance of designing open space as well as architectural mass and discusses the impact of space, color, and perspective on the city-dweller. That the centers of cities should and can be pleasant places in which to live, work, and relax is illustrated by such examples as Rotterdam and Stockholm.

    Frida Ramstedt believes in thinking about how we decorate, rather than focusing on what we decorate with. We know more today than ever before about design trends, furniture, and knickknacks, and now Frida familiarizes readers with the basic principles behind interior and styling--what looks good and, most of all, why it looks good.The Interior Design Handbook teaches you general rules of thumb--like what the golden ratio and the golden spiral are, the proper size for a coffee table in relation to your sofa, the optimal height to hang lighting fixtures, and the best ways to use a mood board--complete with helpful illustrations. Use The Interior Design Handbook to achieve a balanced, beautiful home no matter where you live or what your style is.

    Widely used by both architects and students of architecture, The City Shaped won the AIA's prestigious book award in Architecture and Urbanism. With hundreds of photographs and drawings that illustrate Professor Kostof's innovative ideas, this has become one of the most important works on urbanization.

    Never before had the functional requirements and expressive capacities of architecture been tested so thoroughly and with such diversity of invention. Bergdoll traces this experimentation in a broad range of contexts, focusing in particular on the relation of architectural design to new theories of history, new categories of scientific inquiry, and the broadening audience for architecture in this period of transformation. Unlike traditional surveys with long lists of buildings and architects, the themes are elucidated by in-depth coverage of key buildings which in turn are situated in both their local and European context.

    Yet the number of women working as architects remains stubbornly low, and the higher one looks in the profession, the scarcer women become. Law and medicine, two equally demanding and traditionally male professions, have been much more successful in retaining and integrating women. So why do women still struggle to keep a toehold in architecture? Where Are the Women Architects? tells the story of women's stagnating numbers in a profession that remains a male citadel, and explores how a new generation of activists is fighting back, grabbing headlines, and building coalitions that promise to bring about change.Despina Stratigakos's provocative examination of the past, current, and potential future roles of women in the profession begins with the backstory, revealing how the field has dodged the question of women's absence since the nineteenth century. It then turns to the status of women in architecture today, and the serious, entrenched hurdles they face. But the story isn't without hope, and the book documents the rise of new advocates who are challenging the profession's boys' club, from its male-dominated elite prizes to the erasure of women architects from Wikipedia. These advocates include Stratigakos herself and here she also tells the story of her involvement in the controversial creation of Architect Barbie.Accessible, frank, and lively, Where Are the Women Architects? will be a revelation for readers far beyond the world of architecture.-- "Books in Brief"

    Classical buildings as widely spaced in time as a Roman temple, an Italian Renaissance palace and a Regency house all show an awareness of these rules even if they vary them, break them or poetically contradict them. Sir Christopher Wren described them as the Latin of architecture and the analogy is almost exact. There is the difference, however, that whereas the learning of Latin is a slow and difficult business, the language of classical architecture is relatively simple. It is still, to a great extent, the mode of expression of our urban surroundings, since classical architecture was the common language of the western world till comparatively recent times. Anybody to whom architecture makes a strong appeal has probably already discovered something of its grammar for himself.In this book, the author's purpose is to set out as simply and vividly as possible the exact grammatical workings of this architectural language. He is less concerned with its development in Greece and Rome than with its expansion and use in the centuries since the Renaissance. He explains the vigorous discipline of the orders and the scope of rustication; the dramatic deviations of the Baroque and, in the last chapter, the relationship between the classical tradition and the modern architecture of today. The book is intended for anybody who cares for architecture but more specifically for students beginning a course in the history of architecture, to whom a guide to the classical rules will be an essential companion.

    Through several revisions and updates during Pevsner's lifetime, it continued to be a seminal essay on the subject, and even after his death, it remains as stimulating as it was back in the mid-twentieth century. Sir Nikolaus Pevsner (1902-1983) was one of the twentieth century's most learned and stimulating writers on art and architecture. He established his reputation with Pioneers of Modern Design, though he is probably best known for his celebrated series of guides, The Buildings of England, acknowledged as one of the great achievements of twentieth-century scholarship. He was also founding editor of The Pelican History of Art, the most comprehensive and scholarly history of art ever published in English. A revised and updated full-color edition of the classic study of the history of European architecture