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 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.

    Banister Fletcher has been the standard one volume architectural history for over 100 years and continues to give a concise and factual account of world architecture from the earliest times.In this twentieth and centenary edition, edited by Dan Cruickshank with three consultant editors and fourteen new contributors, chapters have been recast and expanded and a third of the text is new. * There are new chapters on the twentieth-century architecture of the Middle East (including Israel), South-east Asia, Hong Kong, Japan and Korea, the Indian subcontinent, Russia and the Soviet Union, Eastern Europe and Latin America. * The chapter on traditional architecture of India has been rewritten and the section on traditional Chinese architecture has been expanded, both with new specially commissioned drawings* The architecture of the Americas before 1900 has been enlarged to include, for the first time, detailed coverage of Latin America and the Caribbean* The book's scope has been widened to include more architecture from outside Europe* The bibliography has been expanded into a separate section and is a key source of information on every period of world architecture* The coverage of the 20th century architecture of North America has been divided into two chapters to allow fuller coverage of contemporary works* 20th century architecture of Western Europe has been radically recast* For the first time the architecture of the twentieth century is considered as a whole and assessed in an historical perspective* Coverage has been extended to include buildings completed during the last ten years* The coverage of Islamic architecture has been increased and re-organised to form a self contained sectionThis unique reference book places buildings in their social, cultural and historical settings to describe the main patterns of architectural development, from Prehistoric to the International Style. Again in the words of Sir Banister Fletcher, this book shows that 'Architecture ... provides a key to the habits, thoughts and aspirations of the people, and without a knowledge of this art the history of any period lacks that human interest with which it should be invested.'

    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.

    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.

    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.

    Through the worst years of the Great Depression as many as five thousand laborers toiled twenty-four hours a day, seven days a week, to erect the huge structure that would harness the Colorado River and transform the American West.Construction of the giant dam was a triumph of human ingenuity, yet the full story of this monumental endeavor has never been told. Now, in an engrossing, fast-paced narrative, Joseph E. Stevens recounts the gripping saga of Hoover Dam. Drawing on a wealth of material, including manuscript collections, government documents, contemporary newspaper and magazine accounts, and personal interviews and correspondence with men and women who were involved with the construction, he brings the Hoover Dam adventure to life.Described here in dramatic detail are the deadly hazards the work crews faced as they hacked and blasted the dam’s foundation out of solid rock; the bitter political battles and violent labor unrest that threatened to shut the job down; the deprivation and grinding hardship endured by the workers’ families; the dam builders’ gambling, drinking, and whoring sprees in nearby Las Vegas; and the stirring triumphs and searing moments of terror as the massive concrete wedge rose inexorably from the canyon floor.Here, too, is an unforgettable cast of characters: Henry Kaiser, Warren Bechtel, and Harry Morrison, the ambitious, headstrong construction executives who gambled fortune and fame on the Hoover Dam contract; Frank Crowe, the brilliant, obsessed field engineer who relentlessly drove the work force to finish the dam two and a half years ahead of schedule; Sims Ely, the irascible, teetotaling eccentric who ruled Boulder City, the straightlaced company town created for the dam workers by the federal government; and many more men and women whose courage and sacrifice, greed and frailty, made the dam’s construction a great human, as well as technological, adventure.Hoover Dam is a compelling, irresistible account of an extraordinary American epic.

    The physical design of our homes, neighborhoods and communities shapes every aspect of our live, yet where architects are most desperately needed, they can least be afforded. Design Like You Give a Damn is a compendium of innovative projects from around the world that demonstrate the power of design to improve lives. It offers a history of the movement toward socially conscious design, and showcases more than 80 contemporary solutions to such urgent needs as basic shelter, healthcare, education and access to clean water, energy and sanitation.

    What is it that persuades us to camp outside Apple stores to be the first to buy an iPhone? Why is it that a generation ago a typewriter might have lasted someone a lifetime, but now we write on computers that we upgrade every couple of years to shinier, faster, sleeker models? Why do the clicks of some car doors sound “expensive”? Deyan Sudjic charts our relationship—both innocent and knowing—with all things designed. From the opulent excesses of the catwalk to the playfulness of an Alessi jam jar, he shows how we can be manipulated and seduced by our possessions. With scintillating wit he addresses these questions and more, exploring the reasons why every designer yearns to put a personal stamp on a chair or an adjustable lamp, and where design ends and art begins. 71 black-and-white and 5 color illustrations.

    It brings to light virtually unknown Brutalist architectural treasures from across the former eastern bloc and other far flung parts of the world.It includes works by some of the best contemporary architects including Zaha Hadid and David Chipperfield as well as by some of the master architects of the 20th century including Le Corbusier, Mies van der Rohe, Frank Lloyd Wright, Louis Kahn, Paul Rudolph and Marcel Breuer.

    It is the only dictionary that provides concise, accurate definitions illustrated with finely detailed, hand-rendered drawings, each executed in Mr. Ching's signature style.

    When Brooke and Steve Giannetti decided to leave their suburban Santa Monica home to build a new life on a farm, they looked into themselves, and traveled to Belgium and France, for inspiration. Brooke’s inviting prose combines with 200 photographs and Steve’s architectural drawings to show their inspirations, their materials selections, and the enviable result of their team effort and creativity: an idyllic farm in California’s Ojai Valley. We see every corner of the family home, guesthouse, lush gardens, and delightful animal quarters. Steve Giannetti is a renowned architect, and Brooke is an interior decorator and writer of the design blog Velvet and Linen. They also own Giannetti Home, a store that sells furniture and products for the home in their signature Patina style. The couple’s work has been featured in the Veranda, Coastal Living, Good Housekeeping, the New York Times. They are the authors of Patina Style.

    

    In this revised edition of Mr. Giedion's classic work, major sections have been added and there are 81 new illustrations. The chapters on leading contemporary architects have been greatly expanded. There is new material on the later development of Frank Lloyd Wright and the more recent buildings of Walter Gropius, particularly his American Embassy in Athens. In his discussion of Le Corbusier, Mr. Giedion provides detailed analyses of the Carpenter Center at Harvard University, Le Corbusier's only building in the United States, and his Priory of La Tourette near Lyons. There is a section on his relations with his clients and an assessment of his influence on contemporary architecture, including a description of the Le Corbusier Center in Zurich (designed just before his death], which houses his works of art. The chapters on Mies van der Rohe and Alvar Aalto have been brought up to date with examples of their buildings in the sixties. There is an entirely new chapter on the Danish architect Jorn Utzon, whose work, as exemplified in his design for the Sydney Opera House, Mr. Giedion considers representative of post-World War II architectural concepts. A new essay, Changing Notions of the City, traces the evolution of the structure of the city throughout history and examines current attempts to deal with urban growth, as shown in the work of such architects as Jose Luis Sert, Kenzo Tange, and Fumihiko Maki. Mr. Sert's Peabody Terrace is discussed as an example of the interlocking of the collective andindividual spheres. Finally, the conclusion has been enlarged to include a survey of the limits of the organic in architecture.

    Jim Tolpin celebrates the diversity and charm of 30 sample cottages, from a Pacific Northwest cottage modeled after a French hunting lodge to a "salvage yard vernacular cottage" built with junkyard materials.Each featured home reflects individual personality, priorities, and lifestyle. Whether by the water, on a mountain, or in a forest, field, or town, these homes emphasize quality of place over quantity of space.