17th century to the present. Book was reprinted in 2006

    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.

    Back in print in a newly designed edition, this influential cultural, architectural, and social history of New York is even more popular, selling out its first printing on publication. Rem Koolhaas's celebration and analysis of New York depicts the city as a metaphor for the incredible variety of human behavior. At the end of the nineteenth century, population, information, and technology explosions made Manhattan a laboratory for the invention and testing of a metropolitan lifestyle -- "the culture of congestion" -- and its architecture. "Manhattan," he writes, "is the 20th century's Rosetta Stone . . . occupied by architectural mutations (Central Park, the Skyscraper), utopian fragments (Rockefeller Center, the U.N. Building), and irrational phenomena (Radio City Music Hall)." Koolhaas interprets and reinterprets the dynamic relationship between architecture and culture in a number of telling episodes of New York's history, including the imposition of the Manhattan grid, the creation of Coney Island, and the development of the skyscraper. Delirious New York is also packed with intriguing and fun facts and illustrated with witty watercolors and quirky archival drawings, photographs, postcards, and maps. The spirit of this visionary investigation of Manhattan equals the energy of the city itself.

    Topics range from expressive hand gestures to patron saints, pasta, parmesan, shoes, opera, the Vespa, the Fiat 500, gelato, gondolas, and more. History, folklore, superstitions, traditions, and customs are tossed in a delicious sauce that also includes a wealth of factual information for the sophisticated traveler:• why lines, as we know them, are nonexistent in Italy• why a string of coral beads is often seen around a baby’s wrist• what the unlucky number of Italy is (it’s not thirteen, unless seating guests at a table, when it IS thirteen–taking into account the outcome of the Last Supper)• why red underwear begins to appear in shops as the New Year approaches In addition to the lyrical and poetic, Italianissimo provides useful and indispensable information for the traveler: deciphering the quirks of the language (while English has only one word for “you,†in Italy there are three), the best place to find balsamic vinegar (in Modena, of course), the best gelato (in Sicily, where they first invented it using the snow from Mount Etna). There are also recommendations for little-known museums and destinations (the Bodoni museum, the Pinocchio park, legendary coffee bars).This is a new kind of guidebook overflowing with enlightening and hilarious miscellaneous information, filled with luscious graphics and unforgettable photographs that will decode and enrich all trips to Italy–both real and imaginary.

    The Architecture of Happiness starts from the idea that where we are heavily influences who we can be, and it argues that it is architecture's task to stand as an eloquent reminder of our full potential.Whereas many architects are wary of openly discussing the word beauty, this book has at its center the large and naïve question: What is a beautiful building? It is a tour through the philosophy and psychology of architecture that aims to change the way we think about our homes, our streets and ourselves.

    Others may think of it as the last architectural treatise, for it provides a discursive container for ideas that would otherwise be lost. Whatever genre it belongs to, SITELESS is a new kind of architecture book that seems to have come out of nowhere. Its author, a young French architect practicing in Tokyo, admits he "didn't do this out of reverence toward architecture, but rather out of a profound boredom with the discipline, as a sort of compulsive reaction." What would happen if architects liberated their minds from the constraints of site, program, and budget? he asks. The result is a book that is saturated with forms, and as free of words as any architecture book the MIT Press has ever published.The 1001 building forms in SITELESS include structural parasites, chain link towers, ball bearing floors, corrugated corners, exponential balconies, radial facades, crawling frames, forensic housing--and other architectural ideas that may require construction techniques not yet developed and a relation to gravity not yet achieved. SITELESS presents an open-ended compendium of visual ideas for the architectural imagination to draw from. The forms, drawn freehand (to avoid software-specific shapes) but from a constant viewing angle, are presented twelve to a page, with no scale, order, or end to the series. After setting down 1001 forms in siteless conditions and embryonic stages, Blanciak takes one of the forms and performs a "scale test," showing what happens when one of these fantastic ideas is subjected to the actual constraints of a site in central Tokyo. The book ends by illustrating the potential of these shapes to morph into actual building proportions.

    

    Every artist starts with the basics and here is a step-by-step guide to them all. With this how to draw for kids book, every kid can be creative and capture whatever catches their eye.In How to Draw, kids ages 9-12 will try their hand at everything from magical creatures and cartoons to realistic landscapes, portraits, and so much more. Covering basic techniques as they go, this book will prepare and inspire young artists to create their very own masterpieces. It’s easier than you think.How to draw for kids includes: Age-appropriate basics—Kids will learn how to shade dark and light, use perspective, create 3D shapes effects, and more. Easy-to-follow steps—Get start-to-finish instruction for every exercise. Cool pictures—Unicorns, faces of friends and neighbors, buildings, plants and trees—the possibilities are as endless as your child’s creativity. Every kid has the potential to be creative—this how to draw for kids workbook nurtures their confidence step-by-step.

    Kundig's projects, especially his houses, uniquely combine these two seemingly disparate sets of characteristics to produce some of the most inventive structures found in the architecture world today. Kundig's internationally acclaimed work is inspired by both the industrial structures with which he grew up in the Pacific Northwest and the vibrant craft cultures that are fostered there. His buildings uniquely meld industrial sensibilities and materials such as Cor-ten steel and concrete with an intuitive understanding of scale. As Kundig states, "The idea is insaperable from the fabrication, inseparable from the materials used."Tom Kundig: Houses presents five projects in depth, from their early conceptual sketches to their final lovingly wrought, intimate details. Kundig's houses reflect a sustained and active collaborative process between designer, craftsmen, and owners, resulting in houses that bring to life the architect's intentions, the materials used, and lines of unforgettable beauty.

    The text covers the full range of his oeuvre, describing early assignments in the 1870s as a draftsman for leading architects in Barcelona, the innovative buildings he created for the Güell Palace and Estate, daring new structural solutions at Bellesguard, architecture inspired by nature at the Casa Calvet and in the Park Güell, and the construction of his unfinished masterpiece, the Church of the Sagrada Familia, which occupied him until his death. The author traces all the influences that led to his definitive style, from his fascination with the Orient and neogothicism to his affinity for naturalism and specific geometric forms.Brilliantly illustrated, this incisive overview of Gaudí's visionary work is ideal for those who delight in his architecture as well as those who look forward to traveling to Spain to see his monumental legacy.

    In these essays Peter Zumthor expresses his motivation in designing buildings, which speak to our emotions and understanding in so many ways, and possess a powerful and unmistakable presence and personality. This book, whose first edition has been out of print for years, has been expanded to include three new essays: "Does Beauty Have a Form?," "The Magic of the Real," and "Light in the Landscape." It has been freshly illustrated throughout with new color photographs of Zumthor's new home and studio in Haldenstein, taken specially for this edition by Laura Padgett, and received a new typography by Hannele Gronlund.

    The subjects include a mix of the avant-garde, the traditional, the must-haves, and the totally unexpected. Chapters on individual artists bring readers inside their studios, workshops, and homes, and include Selby’s signature photographs and watercolors of not only the artists and their environments, but also the things that inspire them, the materials they use, their creative process, the people who work alongside them, and the final pieces. From the showroom of one of the Antwerp Six to the studios of Central St. Martins in London to a punk knitter in Brooklyn, Selby captures some of fashion’s biggest names, rising stars, and best-kept secrets.

    Consider this the long-overdue, but perfect expression of gratitude for parents, friends, siblings, co-workers, and loved ones.

    The authors, rejecting the grand utopian visions of total planning and total design, propose instead a collage city which can accommodate a whole range of utopias in miniature.

    Among the paradigms presented arearchitectural postmodernism, phenomenology, semiotics, poststructuralism, deconstruction, and feminism.By gathering these influential articles from a vast array of books and journals into a comprehensive anthology, Kate Nesbitt has created a resource of great value. Indispensable to professors and students of architecture and architectural theory, Theorizing a New Agenda also serves practitioners and the general public, as Nesbitt provides an overview, a thematic structure, and a critical introduction to each essay.The list of authors in Theorizing a New Agenda reads like a "Who's Who" of contemporary architectural thought: Tadao Ando, Giulio Carlo Argan, Alan Colquhoun, Jacques Derrida, Peter Eisenman, Marco Frascari, Kenneth Frampton, Diane Ghirardo, Vittorio Gregotti, Karsten Harries, Rem Koolhaas, Christian Norberg-Schulz, Aldo Rossi, Colin Rowe, Thomas Schumacher, Ignasi de Sol-Morales Rubi, Bernard Tschumi, Robert Venturi and Denise Scott Brown, and Anthony Vidler. A bibliography and notes on all the contributors are also included.