Most of all, Home opens a rare window into our private lives--and how we really want to live.

    Commenting on artists such as Avedon, Clifford, Mapplethorpe, and Nadar, Roland Barthes presents photography as being outside the codes of language or culture, acting on the body as much as on the mind, and rendering death and loss more acutely than any other medium. This groundbreaking approach established Camera Lucida as one of the most important books of theory on this subject, along with Susan Sontag's On Photography.

    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.

    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.

    Nearly as frequently, he wrote dense and joyful letters to his wife, Clara Westhoff, expressing his dismay before the paintings and his ensuing revelations about art and life.Rilke was knowledgeable about art and had even published monographs, including a famous study of Rodin that inspired his New Poems. But Cézanne's impact on him could not be conveyed in a traditional essay. Rilke's sense of kinship with Cézanne provides a powerful and prescient undercurrent in these letters -- passages from them appear verbatim in Rilke's great modernist novel, The Notebooks of Malte Laurids Brigge. Letters on Cézanne is a collection of meaningfully private responses to a radically new art."Rilke makes the feeling and views around great art real, weaving into his letters the indescribable thing that gives us beauty, truth, pleasure."--HELEN FRANKENTHALER, Art & Antiques"[These letters] are themselves extraordinarily peaceful and concentrated, seeping with the sense and recognition of Cézanne's colors, in nature as on canvas, colors which seem a part of Rilke himself, of the words and paper."--JOHN BAYLEY, The New York Review of Books

    Each in turn comes under scrutiny in this exhilarating dialogue between two of the most interesting thinkers working in philosophy and architecture today. From such singular objects, Jean Baudrillard and Jean Nouvel move on to fundamental problems of politics, identity, and aesthetics as their exchange becomes an imaginative exploration of the possibilities of modern architecture and the future of modern life. Among the topics the two speakers take up are the city of tomorrow and the ideal of transparency, the gentrification of New York City and Frank Gehry’s surprising Guggenheim Museum in Bilbao. As Nouvel prompts Baudrillard to reflect on some of his signature concepts (the virtual, transparency, fatal strategies, oblivion, and seduction, among others), the confrontation between such philosophical concerns and the specificity of architecture gives rise to novel and striking formulations—and a new way of establishing and understanding the connections between the practitioner and the philosopher, the object and the idea. This wide-ranging conversation builds a bridge between the fields of architecture and philosophy. At the same time it offers readers an intimate view of the meeting of objects and ideas in which the imagined, constructed, and inhabited environment is endlessly changing, forever evolving. Jean Baudrillard is one of the most influential thinkers of his generation and author of The Vital Illusion (2001). Jean Nouvel has designed buildings throughout the world, including the new Guthrie Theater in Minneapolis, and is a recipient of France’s Grand Prix d’Architecture. Robert Bononno, a translator and teacher, lives in New York City.

    Nearly every important development in the modern architectural movement began with the proclamation of these convictions in the form of a program or manifesto. The most influential of these are collected here in chronological order from 1903 to 1963. Taken together, they constitute a subjective history of modern architecture; compared with one another, their great diversity of style reveals in many cases the basic differences of attitude and temperament that produced a corresponding divergence in architectural style. In point of view, the book covers the aesthetic spectrum from right to left; from programs that rigidly generate designs down to the smallest detail to revolutionary manifestoes that call for anarchy in building form and town plan. The documents, placed in context by the editor, are also international in their range: among them are the seminal and prophetic statements of Henry van de Velde, Adolf Loos, and Bruno Taut from the early years of the century; Frank Lloyd Wright's 1910 annunciation of Organic Architecture; Gropius's original program for the Bauhaus, founded in Weimar in 1919; Towards a New Architecture, Guiding Principles by Le Corbusier; the formulation by Naum Gabo and Antoine Pevsner of the basic principles of Constructivism; and articles by R. Buckminster Fuller on universal architecture and the architect as world planner. Other pronouncements, some in flamboyant style, including those of Erich Mendelsohn, Hannes Meyer, Theo van Doesburg, Oskar Schlemmer, Ludwig Mies van der Rohe, El Lissitzky, and Louis I. Kahn. There are also a number of collective or group statements, issued in the name of movements such as CIAM, De Stijl, ABC, the Situationists, and GEAM.Since the dramatic effectiveness of the manifesto form is usually heightened by brevity and conciseness, it has been possible to reproduce most of the documents in their entirety; only a few have been excerpted.

    Now available in paperback, Geography of Home reminds us that the house is home to many things. Far more than four walls and a roof, it contains our private and public lives, our families, our memories and aspirations, and reflects our attitudes toward society, culture, the environment, and our neighbors. In a literary tour of the spaces of our homes, noted design essayist Akiko Busch reflects on how we define such elusive qualities as privacy, security, and comfort. Part social history, part architectural history, part personal anecdote, this rich and delightful book uncovers the hidden meanings of the place we call home.

    It's not an autobiography, though it does offer a revealing and highly personal inside view of contemporary culture. It's an essential tool kit for understanding the world around us. Deyan Sudjic studied architecture in Edinburgh, edited Domus in Milan, was the director of the Venice architecture biennale, and a curator in Glasgow, Istanbul and Copenhagen. The author of The Language of Things and The Edifice Complex, Deyan Sudjic is now Director of the Design Museum, London.

    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.

    Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.

    Since the early 1980s, David Byrne has been riding a bike as his principal means of transportation in New York City. Two decades ago, he discovered folding bikes and started taking them on tour. Byrne's choice was made out of convenience rather than political motivation, but the more cities he saw from his bicycle, the more he became hooked on this mode of transport and the sense of liberation it provided. Convinced that urban biking opens one's eyes to the inner workings and rhythms of a city's geography and population, Byrne began keeping a journal of his observations and insights. An account of what he sees and whom he meets as he pedals through metropoles from Berlin to Buenos Aires, Istanbul to San Francisco, Manila to New York, Bicycle Diaries also records Byrne's thoughts on world music, urban planning, fashion, architecture, cultural dislocation, and much more, all conveyed with a highly personal mixture of humor, curiosity, and humility. Part travelogue, part journal, part photo album, Bicycle Diaries is an eye-opening celebration of seeing the world from the seat of a bike.

    From its publication amid the social upheavals of the 1960s up to the present, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism and everyday life in the late twentieth century. Now finally available in a superb English translation approved by the author, Debord's text remains as crucial as ever for understanding the contemporary effects of power, which are increasingly inseparable from the new virtual worlds of our rapidly changing image/information culture.

    John Wilson, the work of Martin Heidegger has proved of great interest to architects and architectural theorists.The first introduction to Heidegger's philosophy written specifically for architects and students of architecture introduces key themes in his thinking, which has proved highly influential among architects as well as architectural historians and theorists. This guide familiarizes readers with significant texts and helps to decodes terms as well as providing quick referencing for further reading.This concise introduction is ideal for students of architecture in design studio at all levels; students of architecture pursuing undergraduate and postgraduate courses in architectural theory; academics and interested architectural practitioners. Heidegger for Architects is the second book in the new Thinkers for Architects series.

    Manifestoes of Surrealism is a book by André Breton, describing the aims, meaning, and political position of the Surrealist movement.The translators of this edition were finalists of the 1970 National Book Awards in the category of translation.