He identifies a “global style” of architecture—as practiced by Norman Foster, Richard Rogers and Renzo Piano—analogous to the international style of Le Corbusier, Gropius and Mies. More than any art, today’s global style conveys both the dreams and delusions of modernity. Foster demonstrates that a study of the “art-architecture complex” provides invaluable insight into broader social and economic trajectories in urgent need of analysis.From the Trade Paperback edition.

    A. Scotti traces the defining event of a glorious epoch: the building of St. Peter's Basilica. Begun by the ferociously ambitious Pope Julius II in 1506, the endeavor would span two tumultuous centuries, challenge the greatest Renaissance masters--Michelangelo, Raphael, and Bramante--and enrage Martin Luther. By the time it was completed, Shakespeare had written all of his plays, the Mayflower had reached Plymouth--and Rome had risen with its astounding basilica to become Europe's holy metropolis. A dazzling portrait of human achievement and excess, Basilica is a triumph of historical writing.

    Created in the 1890s by George Washington Vanderbilt, a member of one of America's wealthiest families, the estate combined a 250-room French Renaissance-style chateau with 125,000 acres of gardens, forests, and working farms. Biltmore House served as Vanderbilt's primary residence for almost 20 years. After Mr. Vanderbilt's death in 1914, life at Biltmore continued for his wife Edith and daughter Cornelia. In 1930, Cornelia Vanderbilt Cecil and her husband, Hon. John Francis Amherst Cecil, opened Biltmore House--the largest private home in the United States--to the public, firmly establishing the Asheville area as a major tourist destination.

    In prose of outstanding immediacy, Jane Jacobs writes about what makes streets safe or unsafe; about what constitutes a neighborhood, and what function it serves within the larger organism of the city; about why some neighborhoods remain impoverished while others regenerate themselves. She writes about the salutary role of funeral parlors and tenement windows, the dangers of too much development money and too little diversity. Compassionate, bracingly indignant, and always keenly detailed, Jane Jacobs's monumental work provides an essential framework for assessing the vitality of all cities.

    Each spread is devoted to a distinct architectural movement and explains when it first emerged, the historical period to which it applies, the principal disputes over its applicability, and illustrates important structures, practitioners, key words, and distinctive features. From Hellenic Classicism and Expressionism to Brutalism and Blobism, with many stops along the way, these sixty well illustrated and clearly defined "isms" help put all of the "built environments" of the world into context.

    You'll never see the city the same way again.At the core of A Burglar's Guide to the City is an unexpected and thrilling insight: how any building transforms when seen through the eyes of someone hoping to break into it. Studying architecture the way a burglar would, Geoff Manaugh takes readers through walls, down elevator shafts, into panic rooms, up to the buried vaults of banks, and out across the rooftops of an unsuspecting city.With the help of FBI Special Agents, reformed bank robbers, private security consultants, the L.A.P.D. Air Support Division, and architects past and present, the book dissects the built environment from both sides of the law. Whether picking padlocks or climbing the walls of high-rise apartments, finding gaps in a museum's surveillance routine or discussing home invasions in ancient Rome, A Burglar's Guide to the City has the tools, the tales, and the x-ray vision you need to see architecture as nothing more than an obstacle that can be outwitted and undercut.Full of real-life heists-both spectacular and absurd-A Burglar's Guide to the City ensures readers will never enter a bank again without imagining how to loot the vault or walk down the street without planning the perfect getaway.

    These are the ruins of America, filled with the echoes of the voices and footfalls of our grandparents, or their parents, or our own youth. Where once these structures were teeming with life--commuters, workers, vacationers--now they are disused and dilapidated.Ghostly Ruins shows the life and death of thirty such structures, from transportation depots, factories, and jails to amusement parks, mansions, hotels, and entire towns. Author Harry Skrdla gives a guided tour of these marvelous structures at their peak of popularity juxtaposed with their current state of haunted decrepitude. Like a seasoned teller of ghost stories, Skrdla's words and images reveal what lies beyond the gates and beneath the floorboards. There are the infamous Eastern State Penitentiary and Bethlehem Steel factory in Pennsylvania, the Packard Motors Plant and Book-Cadillac Hotel in Detroit, and Philip Johnson's New York State Pavilion from the 1964/65 World's Fair. There is the entire town of Centralia, Pennsylvania, where a trash fire set inside an old mine in 1962 morphed into an underground inferno that incinerated the town from underneath; more than forty years later, the subterranean fire still rages. The town is empty now, just as the many other abandoned places in this chronicle. Ghostly Ruins is a record of the souls of yesteryear and a chronicle of America's haunted past.

    But what did it mean to those who constructed it in the twelfth and thirteenth centuries? And why, during this period, did Europeans begin to build churches in a new style, at such immense height and with such glorious play of light, in the soaring manner we now call Gothic?Universe of Stone shows that the Gothic cathedrals encode a far-reaching shift in the way medieval thinkers perceived their relationship with their world. For the first time, they began to believe in an orderly, rational world that could be investigated and understood. This change marked the beginning of Western science and also the start of a long and, indeed, unfinished struggle to reconcile faith and reason.By embedding the cathedral in the culture of the twelfth century—its schools of philosophy and science, its trades and technologies, its politics and religious debates—Philip Ball makes sense of the visual and emotional power of Chartres. Beautifully illustrated and written, filled with astonishing insight, Universe of Stone argues that Chartres is a sublime expression of the originality and vitality of a true "first renaissance," one that occurred long before the birth of Leonardo da Vinci, Michelangelo, or Francis Bacon.

    During his life he created numerous works of art and kept voluminous notebooks that detailed his artistic and intellectual pursuits.The collection of writings and art in this magnificent book are drawn from his notebooks. The book organizes his wide range of interests into subjects such as human figures, light and shade, perspective and visual perception, anatomy, botany and landscape, geography, the physical sciences and astronomy, architecture, sculpture, and inventions. Nearly every piece of writing throughout the book is keyed to the piece of artwork it describes.The writing and art is selected by art historian H. Anna Suh, who provides fascinating commentary and insight into the material, making Leonardo's Notebooks an exquisite single-volume compendium celebrating his enduring genius.

    Pouring into developing-world “instant cities” like Dubai and Shenzhen, these urban newcomers confront a modern world cobbled together from fragments of a West they have never seen. Do these fantastical boomtowns, where blueprints spring to life overnight on virgin land, represent the dawning of a brave new world? Or is their vaunted newness a mirage?In a captivating blend of history and reportage, Daniel Brook travels to a series of major metropolitan hubs that were once themselves instant cities— St. Petersburg, Shanghai, and Mumbai—to watch their “dress rehearsals for the twenty-first century.” Understanding today’s emerging global order, he argues, requires comprehending the West’s profound and conflicted influence on developing-world cities over the centuries.In 1703, Tsar Peter the Great personally oversaw the construction of a new Russian capital, a “window on the West” carefully modeled on Amsterdam, that he believed would wrench Russia into the modern world. In the nineteenth century, Shanghai became the fastest-growing city on earth as it mushroomed into an English-speaking, Western-looking metropolis that just happened to be in the Far East. Meanwhile, Bombay, the cosmopolitan hub of the British Raj, morphed into a tropical London at the hands of its pith-helmeted imperialists.Juxtaposing the stories of the architects and authoritarians, the artists and revolutionaries who seized the reins to transform each of these precociously modern places into avatars of the global future, Brook demonstrates that the drive for modernization was initially conflated with wholesale Westernization. He shows, too, the ambiguous legacy of that emulation—the birth (and rebirth) of Chinese capitalism in Shanghai, the origins of Bollywood in Bombay’s American-style movie palaces, the combustible mix of revolutionary culture and politics that rocked the Russian capital—and how it may be transcended today.A fascinating, vivid look from the past out toward the horizon, A History of Future Cities is both a crucial reminder of globalization’s long march and an inspiring look into the possibilities of our Asian Century.

    Treasured by the ancient Mexicans, cochineal was sold in the great Aztec marketplaces, where it attracted the attention of the Spanish conquistadors in 1519. Shipped to Europe, the dye created a sensation, producing the brightest, strongest red the world had ever seen. Soon Spain's cochineal monopoly was worth a fortune. Desperate to find their own sources of the elusive dye, the English, French, Dutch, and other Europeans tried to crack the enigma of cochineal. Did it come from a worm, a berry, a seed? Could it be stolen from Mexico and transplanted to their own colonies? Pirates, explorers, alchemists, scientists, and spies—all joined the chase for cochineal, a chase that lasted more than three centuries. A Perfect Red tells their stories—true-life tales of mystery, empire, and adventure, in pursuit of the most desirable color on earth.

    They have become cultural icons, standing not only for different kinds of art but also for different ways of living. Matisse, known for his restraint and intense sense of privacy, for his decorum and discretion, created an art that transcended daily life and conveyed a sensuality that inhabited an abstract and ethereal realm of being. In contrast, Picasso became the exemplar of intense emotionality, of theatricality, of art as a kind of autobiographical confession that was often charged with violence and explosive eroticism. In Matisse and Picasso , Jack Flam explores the compelling, competitive, parallel lives of these two artists and their very different attitudes toward the idea of artistic greatness, toward the women they loved, and ultimately toward their confrontations with death.

    But maps need not just show continents and oceans: there are maps to heaven and hell; to happiness and despair; maps of moods, matrimony, and mythological places. There are maps to popular culture, from Gulliver's Island to Gilligan's Island. There are speculative maps of the world before it was known, and maps to secret places known only to the mapmaker. Artists' maps show another kind of uncharted realm: the imagination. What all these maps have in common is their creators' willingness to venture beyond the boundaries of geography or convention.You Are Here is a wide-ranging collection of such superbly inventive maps. These are charts of places you're not expected to find, but a voyage you take in your mind: an exploration of the ideal country estate from a dog's perspective; a guide to buried treasure on Skeleton Island; a trip down the road to success; or the world as imagined by an inmate of a mental institution. With over 100 maps from artists, cartographers, and explorers, You are Here gives the reader a breath-taking view of worlds, both real and imaginary.

    In entirely new photographs taken especially for this book by two leading architectural photographers under the direction of co-editor David Larkin, such internationally famous buildings as the Solomon R. Guggenheim Museum and Fallingwater and Wright's homes Taliesin, Taliesin West, and the Oak Park Home and Studio are seen afresh, benefiting from the photographers' special access. Several lesser-known residences, such as Auldbrass Plantation in South Carolina, an array of wooden buildings that is Wright's American alternative to antebellum architecture, the William H. Winslow house in River Forest, Illinois, one of the architect's earliest and most surprisingly decorative houses, and the Kenneth Laurent house in Rockford, Illinois, a masterful curvilinear design, are seen in full color and demonstrate dimensions of Wright's work less often seen before. Public buildings, such as the dramatic concrete, glass, and steel Marin County Civic Center and Beth Sholom Synagogue show Wright as engineering virtuoso as well as creative architect. In addition to these existing masterworks, only the most famous of which are open to the public, the book covers buildings that have been demolished, notably the Larkin Company Administration Building, Midway Gardens, and the Imperial Hotel, which are represented here by drawings and rich archival photographs. Each of the buildings is presented from conceptual sketch, plan, or drawing to finished masterwork, andeach is accompanied by an in-depth essay detailing the development of the work. Extensive quotes from Wright's writings, unpublished talks, and private letters to the clients give valuable insight into the architect's own thinking about each commission. Never before has Wright's architecture been presented so elaborately in one volume.

    K. Ching. Each page has been meticulously revised to incorporate contemporary examples of the principles of form, space, and order - the fundamental vocabulary of every designer. The result is a beautifully illustrated volume that embraces today's forms and looks at conventional models with a fresh perspective. Here, Ching examines every principal of architecture, juxtaposing images that span centuries and cross cultural boundaries to create a design vocabulary that is both elemental and timeless. Among the topics covered are point, line, plane, volume, proportion, scale, circulation, and the interdependence of form and space. While this revision continues to be a comprehensive primer on the ways form and space are interrelated and organized in the shaping of our environment, it has been refined to amplify and clarify concepts. In addition, the Second Edition contains numerous new hand-rendered drawings; expanded section on openings and scale; examples of contemporary architectural design elements; expanded chapter on design principles; new glossary and index categorized by the author; and new 8 1/2 x 11 upright trim. In the Second Edition of Architecture: Form, Space, and Order, the author has opted for a larger format and crisper images. Mr. Ching has retained the style of his hand-lettered text, a hallmark of each of his books. This rich source of architectural prototypes, each rendered in Mr. Ching's signature style, also serves as a guide to architectural drawing. Doubtless, many will want this handsomevolume for the sheer beauty of it. Architects and students alike will treasure this book for its wealth of practical information and its precise illustrations. Mr. Ching has once again created a visual reference that illuminates the world of architectural form.