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 Extensive quotes from Wright's writings, unpublished talks, and private letters to the clients give valuable insight into the architect's own thinking about each commission.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.

    Works, drawings, models and details are reproduced in colour and accompanied by essays.

    Invariably, though, it begins with a trip down the stairs. And so sets out architecture critic Michael Sorkin on his daily walk from his home in a Manhattan old-law-style tenement building. Sorkin has followed the same path for over fifteen years, a route that has allowed him to observe the startling transformations in New York during this period of great change. Twenty Minutes in Manhattan is his personal, anecdotal account of his casual encounters with the physical space and social dimensions of this unparalleled city. From the social gathering place of the city stoop to Washington Square Park, Sorkin’s walk takes the reader on a wry, humorous journey past local characters, neighborhood stores and bodegas, landmark buildings, and overlooked streets. His perambulations offer him—and the reader—opportunities to not only engage with his surroundings but to consider a wide range of issues that fascinate Sorkin as an architect, urbanist, and New Yorker. Whether he is despairing at street garbage or marveling at elevator etiquette, Twenty Minutes in Manhattan offers a testing ground for his ideas of how the city can be newly imagined and designed, addressing such issues as the crisis of the environment, free expression and public space, historic preservation, and the future of the neighborhood as a concept. Inspired by Sorkin’s close, attentive relationship to his beloved city, Twenty Minutes in Manhattan is in the end a valentine to the idea of the city that ultimately offers a practical set of solutions that are relevant to not only the preservation and improvement of New York but to urban environments everywhere.

    From this foundation, Goldhagen presents a powerful case that societies must use this knowledge to rethink what and how they build: the world needs better-designed, healthier environments that address the complex range of human individual and social needs.By 2050 America’s population is projected to increase by nearly seventy million people. This will necessitate a vast amount of new construction—almost all in urban areas—that will dramatically transform our existing landscapes, infrastructure, and urban areas. Going forward, we must do everything we can to prevent the construction of exhausting, overstimulating environments and enervating, understimulating ones. Buildings, landscapes, and cities must both contain and spark associations of natural light, greenery, and other ways of being in landscapes that humans have evolved to need and expect. Fancy exteriors and dramatic forms are never enough, and may not even be necessary; authentic textures and surfaces, and careful, well-executed construction details are just as important.Erudite, wise, lucidly written, and beautifully illustrated with more than one hundred color photographs, Welcome to Your World is a vital, eye-opening guide to the spaces we inhabit, physically and mentally, and a clarion call to design for human experience.

    Aided by artists, writers, cartographers, and twenty-two gorgeous color maps, each of which illuminates the city and its surroundings as experienced by different inhabitants, Solnit takes us on a tour that will forever change the way we think about place. She explores the area thematically—connecting, for example, Eadweard Muybridge’s foundation of motion-picture technology with Alfred Hitchcock’s filming of Vertigo. Across an urban grid of just seven by seven miles, she finds seemingly unlimited landmarks and treasures—butterfly habitats, queer sites, murders, World War II shipyards, blues clubs, Zen Buddhist centers. She roams the political terrain, both progressive and conservative, and details the cultural geographies of the Mission District, the culture wars of the Fillmore, the South of Market world being devoured by redevelopment, and much, much more. Breathtakingly original, this atlas of the imagination invites us to search out the layers of San Francisco that carry meaning for us—or to discover our own infinite city, be it Cleveland, Toulouse, or Shanghai.CONTRIBUTORS:Cartographers: Ben Pease and Shizue SeigelDesigner: Lia TjandraArtists: Sandow Birk, Mona Caron, Jaime Cortez, Hugh D'Andrade, Robert Dawson, Paz de la Calzada, Jim Herrington, Ira Nowinski, Alison Pebworth, Michael Rauner, Gent Sturgeon, Sunaura TaylorWriters and researchers: Summer Brenner, Adriana Camarena, Chris Carlsson, Lisa Conrad, Guillermo Gómez-Peña, Joshua Jelly-Schapiro, Paul La Farge, Genine Lentine, Stella Lochman, Aaron Shurin, Heather Smith, Richard WalkerAdditional cartography: Darin Jensen; Robin Grossinger and Ruth Askevold, San Francisco Estuary Institute

    Discussion relates the importance of space to relativism throughout time.

    In his own time, Kilmt (1862-1918) was a highly successful painter, draftsman, muralist, and graphic artist; in the intervening years, iconic works such as The Kiss have been elevated to nothing less than cult status. Klimt's unfading popularity attests to the appeal of not only his aesthetic sensibilities but also that of the recurrent universal themes in his work: love, feminine beauty, aging, and death. He once wrote, "I am a painter who paints day after day from morning to night...Who ever wants to know something about me...ought to look carefully at my pictures." With this overview of Klimt's work, readers will delight in taking up that challenge.About the Series: Each book in TASCHEN's Basic Art series features:a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

    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.

    Describes the principles of wabi-sabi, a Japanese aesthetic associated with Japanese tea ceremonies and based on the belief that true beauty comes from imperfection and incompletion, through text and photographs.

    Focusing on this American period, Conversations with Mies van der Rohe, the latest addition to our Conversations series, gives fresh credence to this claim by presenting the architect's most important design concerns in his own words. In this collectionof interviews Mies talks freely about his relationship with clients, the common language he aimed for in his architecturalprojects, the influences on his work, and the synthesis of architecture and technology that he advanced in his designs and built works.Conversations with Mies van der Rohe makes an important contribution to the corpus of Mies scholarship. It presents a vivid picture of a master of modernism, bringing his artistic biography to a close while completing the scope of his style in terms of techniques, scale, use of materials, and typology. An essay by Iaki balos provides a context for these interviews and looks at Mies's legacy from a contemporary perspective.

    We see a network of walls, columns, cables, pipes and tunnels required to satisfy the basic needs of a city's inhabitants.

    Beginning with the classical origins of Western architecture and coming right up to the new millennium, the book discusses every major milestone in the development of Western architecture in probing detail. Features of the revised edition include expanded chapters on Mesopotamian and Egyptian architecture, made possible by important recent archeological findings; and urban planning sections added throughout the book. The latter will be of special value to the growing numbers of readers who take an active interest in the relationship between a city’s buildings and the community residents who live and work in them.

    Featuring more than thirty-five of his projects, it reveals his philosophy of graphic design—how to use it to sell things, explain things, make things look better, make people laugh, make people cry, and (every once in a while) change the world. Specially chosen to illustrate the breadth and reach of graphic design today, each entry demonstrates Bierut’s eclectic approach. In his entertaining voice, the artist walks us through each from start to finish, mixing historic images, preliminary drawings (including full-size reproductions of the notebooks he has maintained for more than thirty-five years), working models and rejected alternatives, as well as the finished work. Throughout, he provides insights into the creative process, his working life, his relationship with clients, and the struggles that any design professional faces in bringing innovative ideas to the world.Offering insight and inspiration for artists, designers, students, and anyone interested in how words, images, and ideas can be put together, How to provides insight to the design process of one of this century’s most renowned creative minds.

    Full facsimile of the original edition, not reproduced with Optical Recognition Software. Camillo Sitte (1843-1903) was a noted Austrian architect, painter and theoretician who exercised great influence on the development of urban planning in Europe and the United States. The publication at Vienna in May 1889 of "Der Stadtebau nach seinen k�nstlerischen Grundsatzen" ("The Art of Building Cities") began a new era in Germanic city planning. Sitte strongly criticized the current emphasis on broad, straight boulevards, public squares arranged primarily for the convenience of traffic, and efforts to strip major public or religious landmarks of adjoining smaller structures regarded as encumbering such monuments of the past. Sitte proposed instead to follow what he believed to be the design objectives of those whose streets and buildings shaped medieval cities. He advocated curving or irregular street alignments to provide ever-changing vistas. He called for T-intersections to reduce the number of possible conflicts among streams of moving traffic. He pointed out the advantages of what came to be know as "turbine squares"--civic spaces served by streets entering in such a way as to resemble a pin-wheel in plan. His teachings became widely accepted in Austria, Germany, and Scandinavia, and in less than a decade his style of urban design came to be accepted as the norm in those countries.

    Emotional Design will appeal not only to designers and manufacturers but also to managers, psychologists, and general readers who love to think about their stuff.