The Bohemian Modern home is a place where creativity, individuality, and a wild mix of color and pattern meet in a modern environment. Whitewashed walls and polished concrete floors are brought to life by vibrant Moroccan rugs and wall hangings, wicker chairs draped with tactile throws, and a veritable jungle of house plants—clustered in pots, hanging from the ceiling, and even growing on the walls. The style certainly gives a nod to ’70s chic, with its use of shagpile rugs, Swiss cheese plants, and macramé, but it stands firmly in the present day by boldly contrasting those elements with sleek modern art on the walls and bold pops of color. Emily Henson starts by taking a look at the different facets of the look: pattern and color, textiles, handmade pieces, living with houseplants, and collections and display. She also offers up styling tricks to use at home and ideas for recycling and reuse. Next, a series of case studies take a closer look at Bohemian Modern homes and the people who live in them. From a restored barn on the breezy Moroccan coast to a former parking garage in the Netherlands that's been converted into a flexible family live/work space, Emily shows that any home can have Bohemian Modern style.

    Never had homes been so thoroughly contemporary, with antiques and period styles entirely banished. Mid-Century Modern explores the interior decor of this seminal decade, concentrating on all aspects of a home's decoration-walls, flooring, surfaces, lighting, and, of course, furniture.Case studies examine beautiful present-day homes that exhibit mid-century style in an exemplary way, and suggest ideas for taking the 1950's look-complete with collector's pieces-and mixing and matching it with elements from other eras.

    A building that eats smog. An inflatable concert hall. A research lab that can walk through snow. We’re entering a new age in architecture—one where we expect our buildings to deliver far more than just shelter. We want buildings that inspire us while helping the environment; buildings that delight our senses while serving the needs of a community; buildings made possible both by new technology and repurposed materials.Like an architectural cabinet of wonders, this book collects the most innovative buildings of today and tomorrow. The buildings hail from all seven continents (to say nothing of other planets), offering a truly global perspective on what lies ahead. Each page captures the soaring confidence, the thoughtful intelligence, the space-age wonder, and at times the sheer whimsy of the world’s most inspired buildings—and the questions they provoke: Can a building breathe? Can a skyscraper be built in a day? Can we 3D-print a house? Can we live on the moon?Filled with gorgeous imagery and witty insight, this book is an essential and delightful guide to the future being built around us—a future that matters more, and to more of us, than ever.

    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.

    In Japan, one goes there to cleanse the soul. Bathing in Japan is about much more than cleanliness: it is about family and community. It is about being alone and contemplative, time to watch the moon rise above the garden.Along with sixty full-color illustrations of the light and airy baths themselves, The Japanese Bath, delves into the aesthetic of bathing Japanese style and the innate beauty of the steps surrounding the process. The authors explain how to create a Japanese bath in your own home. A Zen meditation, the Japanese bath, indeed, cleanses the soul, and one emerges refreshed, renewed, and serene.

    'Townscape' is the art of giving visual coherence and organization to the jumble of buildings, streets and space that make up the urban environment. It has been a major influence on architects, planners and others concerned with what cities should look like.

    Happy Home brims with useful ideas for transforming a ho-hum home with relaxed contemporary style featuring bright colors, cheerful patterns, and varying textures and scale inspired by designer Charlotte Hedeman Gueniau and her home furnishings company Rice, which are well-known among design fans for innovative home furnishings and houseware collections featuring ethically sourced and produced products. The book shows how the basics of everyday life can be enlivened by bringing color and a sense of fun to daily living, whether by using brightly colored accessories or by introducing fabrics with patterns, textures, and hints of humor throughout the home. Included are practical suggestions that add informal charm to any room, as well as do-it-yourself projects ranging from brightly colored throws and cushions, storage ideas to hide clutter, hand-painted furniture, and decorative motifs for walls and other surfaces.

    Four Walls and a Roof challenges this notion, presenting a candid account of what it is really like to work as an architect.Drawing on his own tragicomic experiences in the field, Reinier de Graaf reveals the world of contemporary architecture in vivid snapshots: from suburban New York to the rubble of northern Iraq, from the corridors of wealth in London, Moscow, and Dubai to garbage-strewn wastelands that represent the demolished hopes of postwar social housing. We meet oligarchs determined to translate ambitions into concrete and steel, developers for whom architecture is mere investment, and the layers of politicians, bureaucrats, consultants, and mysterious hangers-on who lie between any architectural idea and the chance of its execution.Four Walls and a Roof tells the story of a profession buffeted by external forces that determine--at least as much as individual inspiration--what architects design. Perhaps the most important myth debunked is success itself. To achieve anything, architects must serve the powers they strive to critique, finding themselves in a perpetual conflict of interest. Together, architects, developers, politicians, and consultants form an improvised world of contest and compromise that none alone can control.

    Though physical appearance is idolised for its sexual appeal and its social identity, the role of the body in developing a full understanding of the physical world and the human condition has become neglected. The potential of the human body as a knowing entity - with all our senses as well as our entire bodily functions being structured to produce and maintain silent knowledge together - fails to be recognised. It is only through the unity of mind and body that craftsmanship and artistic work can be fully realised. Even those endeavours that are generally regarded as solely intellectual, such as writing and thinking, depend on this union of mental and manual skills.In The Thinking Hand, Juhani Pallasmaa reveals the miraculous potential of the human hand. He shows how the pencil in the hand of the artist or architect becomes the bridge between the imagining mind and the emerging image. The book surveys the multiple essences of the hand, its biological evolution and its role in the shaping of culture, highlighting how the hand-tool union and eye-hand-mind fusion are essential for dexterity and how ultimately the body and the senses play a crucial role in memory and creative work. Pallasmaa here continues the exploration begun in his classic work The Eyes of the Skin by further investigating the interplay of emotion and imagination, intelligence and making, theory and life, once again redefining the task of art and architecture through well-grounded human truths.

    A photographic exploration of Japanese architecture and design in size-constricted areas explores imaginative, ingenious, and revolutionary solutions to space-compromised living.

    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.

    From teacups, riding boots, golf balls, and underwater sculpture to the villas of Palladio and the fish-feeding pavilion of the Peking Winter Palace, the author ranges over the less-familiar byways of designing excellence.At one time, writes Rasmussen, "the entire community tool part in forming the dwellings and implements they used. The individual was in fruitful contact with these things; the anonymous houses were built with a natural feeling for place, materials and use and the result was a remarkably suitable comeliness. Today, in our highly civilized society, the houses which ordinary people are doomed to live in and gaze upon are on the whole without quality. We cannot, however, go back to the old method of personally supervised handicrafts. We must strive to advance by arousing interest in and understanding of the work the architect does. The basis of competent professionalism is a sympathetic and knowledgeable group of amateurs, of non-professional art lovers."

    Buildings often overawe us with their beauty. Architecture is both setting for our everyday lives and public art form—but it remains mysterious to most of us. In How Architecture Works, Witold Rybczynski, one of our best, most stylish critics and winner of the Vincent Scully Prize for his architectural writing, answers our most fundamental questions about how good—and not-so-good—buildings are designed and constructed. Introducing the reader to the rich and varied world of modern architecture, he takes us behind the scenes, revealing how architects as different as Frank Gehry, Renzo Piano, and Robert A. M. Stern envision and create their designs. He teaches us how to "read" plans, how buildings respond to their settings, and how the smallest detail—of a stair balustrade, for instance—can convey an architect's vision. Ranging widely from a war memorial in London to an opera house in St. Petersburg, from the National Museum of African American History and Culture in Washington, D.C., to a famous architect's private retreat in downtown Princeton, How Architecture Works, explains the central elements that make up good building design. It is an enlightening humanist's toolkit for thinking about the built environment and seeing it afresh. "Architecture, if it is any good, speaks to all of us," Rybczynski writes. This revelatory book is his grand tour of architecture today.

    These operative verbs abstract the idea of spatial formation to its most basic terms, allowing for an objective approach to create the foundation for subjective spatial design. Examples of these verbs are expand, inflate, nest, wist, lift, embed, merge and many more. Together they form a visual dictionary decoding the syntax of spatial verbs. The verbs are illustrated with three-dimensional diagrams and pictures of designs which show the verbs 'in action'.This approach was devised, tested, and applied to architectural studio instruction by Anthony Di Mari and Nora Yoo while teaching at Harvard University's Career Discovery Program in Architecture in 2010. As instructors and as recent graduates, they saw a need for this kind of catalogue from both sides - as a reference manual applicable to design students in all stages of their studies, as well as a teaching tool for instructors to help students understand the strong spatial potential of abstract operations.

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