The first major exposition of his ideas appeared in Vers une Architecture (1923), a compilation of articles originally written by Le Corbusier for his own avant-garde magazine, L'Esprit Nouveau. The present volume is an unabridged English translation of the 13th French edition of that historic manifesto, in which Le Corbusier expounded his technical and aesthetic theories, views on industry, economics, relation of form to function, the "mass-production spirit," and much else. A principal prophet of the "modern" movement in architecture, and a near-legendary figure of the "International School," he designed some of the twentieth century's most memorable buildings: Chapel at Ronchamp; Swiss dormitory at the Cité Universitaire, Paris; Unité d'Habitation, Marseilles; and many more.
Le Corbusier brought great passion and intelligence to these essays, which present his ideas in a concise, pithy style, studded with epigrammatic, often provocative, observations: "American engineers overwhelm with their calculations our expiring architecture." "Architecture is stifled by custom. It is the only profession in which progress is not considered necessary." "A cathedral is not very beautiful . . ." and "Rome is the damnation of the half-educated. To send architectural students to Rome is to cripple them for life."
Profusely illustrated with over 200 line drawings and photographs of his own works and other structures he considered important, Towards a New Architecture is indispensable reading for architects, city planners, and cultural historians ― but will intrigue anyone fascinated by the wide-ranging ideas, unvarnished opinions, and innovative theories of one of this century's master builders.
Despite the vast literature about Frank Lloyd Wright, noted Wright scholar Donald Hoffmann contends that observations about Wright commonly fail to reach any understanding of his art and few commentaries deal with the principles of his architecture. What inspired his work? How did his architecture mature? What are the dynamics of its characteristic expression? Why will the formative principles always be valid?
The answers to these and other questions about Wright's architectural philosophy, ideals and methods can be found in this superb treatment, enhanced with 127 photos, plans, and illustrations of a host of Wright masterworks. Among these are the Robie house, the Winslow house, Fallingwater, Hollyhock House, the Larkin Building, Unity Temple, Taliesin, the Guggenheim Museum, the Johnson Wax Building, and many more.
Expertly analyzing Wright's approach to siting, furnishing, landscaping, and other details, Mr. Hoffmann has written an insightful guide to the concepts that gave Wright's architecture "not only its extraordinary vigor of structure and form, expression and meaning, but its surprising continuity." The book will be essential reading for all Wright fans and anyone interested in the evolution of modern architecture.
Gehry’s subjects range from his childhood—when he first built cities with wooden blocks on the floor of his grandmother’s kitchen—to his relationships with clients and his definition of a “great” client. We learn about his architectural influences (including Le Corbusier and Frank Lloyd Wright) and what he has learned from Michelangelo, Rembrandt, and Rauschenberg.
We explore the thinking behind his designs for the Guggenheim Bilbao and the Walt Disney Concert Hall, the redevelopment of Atlantic Yards in Brooklyn and Grand Avenue in Los Angeles, the Gehry Collection at Tiffany’s, and ongoing projects in Toronto, Paris, Abu Dhabi, and elsewhere. And we follow as Gehry illuminates the creative process by which his ideas first take shape—for example, through early drawings for the Guggenheim Museum in Bilbao, when the building’s trademark undulating curves were mere scribbles on a page. Sketches, models, and computer images provided by Gehry himself allow us to see how so many of his landmark buildings have come to fruition, step by step.
Conversations with Frank Gehry is essential reading for everyone interested in the art and craft of architecture, and for everyone fascinated by the most iconic buildings of our time, as well as the man and the mind behind them.
From the Hardcover edition.
Olmsted was an American visionary. He foresaw the day when New York and many other growing cities of the mid-nineteenth century would be plagued by what we presently term "urban sprawl." And he was convinced of the critical importance of adapting land for the recreational and contemplative needs of city dwellers before the last remnants of natural terrain were engulfed by "monotonous, straight streets and piles of erect, angular buildings." As a result of his early efforts to revolutionize the design of public parks, many cities today are able to preserve the recreational space and greenery within their urban limits. In addition, his thoughts and words on wilderness areas still echo across a century of preservation in the wild.
This lively and insightful account of his prodigious life features many of his outstanding landscape projects, including the Biltmore Estate, Prospect Park (Brooklyn), the capitol grounds in Washington, DC, the Boston Park System, the Chicago parks and the Chicago World Fair, as well as measures to preserve the natural settings at Niagara Falls, Yosemite, and the Adirondacks. It traces his early years and describes events that were to form his artistic, intellectual, and deeply humanistic sensibilities. And it restores this lost American hero to his prominent place in history. In addition to being the acknowledged father of American landscape architecture, Frederick Law Olmsted helped shape the political and philosophical climate of America in his own time and today.
Elizabeth Stevenson is the author of the Bancroft Award-winning Henry Adams: A Biography; The Glass Lark, a biography of Lafcadio Hearn; and Babbitts and Bohemians: From the Great War to the Great Depression, all available from Transaction.
In volume one of this monograph, more than 30 of Safdie's projects are illustrated with spectacular photography, original design sketches and text. These works include his seminal Habitat project for Expo '67 in Montreal, Canada; the National Gallery of Canada, Ottawa; the Montreal Museum of Fine Arts; Library Square, Vancouver, Canada; Mamilla Center and Hebrew Union College, Jerusalem; the Skirball Museum and Cultural Center, Los Angeles; and urban designs for Montreal and Keur Farah Pahlavi, Senegal. Together they demonstrate the depth of Safdie's work, and an architectural vocabulary full of light and colour.
In his essay 'The Medium and Language of Architecture', Safdie discusses his architecture and influences. Each of the texts by authors Paul Goldberger, Peter G Rowe, Witold Rybczynski and Michael Sorking covers a different facet of Safdie's oeuvre.
In the world of modern art, the idea of appropriation, or
the conscious manipulation of the recognised world of another artist, has long been
accepted as a legitimate strategy in criticism of the tradition of art
authorship, challenging the context of viewing contemporary work and the
manipulation of omnipresent media images. The world of art itself is fair game
to be pillaged or mined in the production of new art, but there is almost no
recognised equivalent aesthetic in architecture.
Philip Johnson consistently dealt with the concept of
appropriation and used it as a design strategy from the very beginning of his
illustrious career. A singular taste-maker, Philip Johnson influenced art,
architecture and design during the second half of the 20th century. Philip Johnson and His Mischief:
Appropriation in Art and Architecture looks at the concept of appropriation
and how Johnson’s style was influenced first by his mentor, Mies van der Rohe,
and then by post-modern ideas and artists. This title serves to review
Johnson’s body of work and show that, far from being a weakness, his use of
appropriation was a major part of his innovative success.
Drawing on hundreds of new and unpublished interviews and countless unseen documents from the Wright archives, The Fellowship is an unforgettable story of genius and ego, sex and violence, mysticism and utopianism. Epic in scope yet intimate in its detail, it is a stunning true account of how an idealistic community devolved into a kind of fiefdom where young apprentices were both inspired and manipulated, often at a staggering personal cost, by the architect and his imperious wife, Olgivanna Hinzenberg, along with her spiritual master, the legendary Greek-Armenian mystic Georgi Gurdjieff. A magisterial work of biography, it will forever change how we think about Frank Lloyd Wright and his world.
In 1924, in the vibrant heart of Manhattan, a fierce rivalry was born. Two architects, William Van Alen and Craig Severance (former friends and successful partners, but now bitter adversaries), set out to imprint their individual marks on the greatest canvas in the world--the rapidly evolving skyline of New York City. Each man desired to build the city’s tallest building, or ‘skyscraper.’ Each would stop at nothing to outdo his rival.
Van Alen was a creative genius who envisioned a bold, contemporary building that would move beyond the tired architecture of the previous century. By a stroke of good fortune he found a larger-than-life patron in automobile magnate Walter Chrysler, and they set out to build the legendary Chrysler building. Severance, by comparison, was a brilliant businessman, and he tapped his circle of downtown, old-money investors to begin construction on the Manhattan Company Building at 40 Wall Street.
From ground-breaking to bricklaying, Van Alen and Severance fought a cunning duel of wills. Each man was forced to revamp his architectural design in an attempt to push higher, to overcome his rival in mid-construction, as the structures rose, floor by floor, in record time. Yet just as the battle was underway, a third party entered the arena and announced plans to build an even larger building. This project would be overseen by one of Chrysler’s principal rivals--a representative of the General Motors group--and the building ultimately became known as The Empire State Building.
Infused with narrative thrills and perfectly rendered historical and engineering detail, Higher brings to life a sensational episode in American history. Author Neal Bascomb interweaves characters such as Al Smith and Governor Franklin Delano Roosevelt, leading up to an astonishing climax that illustrates one of the most ingenious (and secret) architectural achievements of all time.
China Construction Design International (CCDI) is one
of Asia’s premier architectural firms. It was ranked as the number one private
architectural firm in China in 2004. In 2005, it became the first firm from
China to receive an award from the United Nations Human Settlements Programme
Among CCDI’s completed projects are office towers,
sports arenas, residential complexes and cultural centres, as well as many
large-scale planning projects. All projects are based on the firm’s core
principles of integrated design, technology, environment and local public
culture in order to design building solutions to meet the manifold needs of
This is a unique opportunity to review award-winning
architectural design in 21st century China.
Dimendberg provides an extensive overview of these concerns and the history of the studio, revealing how principals Elizabeth Diller, Ricardo Scofidio, and Charles Renfro continue to expand the definition of architecture, question the nature of space and vision in contemporary culture, and produce work that is endlessly surprising and rewarding, from New York’s High Line to Blur, an artificial cloud, and Facsimile, a video screen that moves around a building facade. Dimendberg also explores the relation of work by DS+R to that by earlier modernists such as Marcel Duchamp and John Hejduk. He reveals how the fascination of the architects with evolving forms of media, technology, and building materials has produced works that unsettle distinctions among architecture and other media. Based on interviews with the architects, their clients, and collaborators as well as unprecedented access to unpublished documents, sketchbook entries, and archival records, Diller Scofidio + Renfro is the most thorough consideration of DS+R in any language. Illustrated with many previously unpublished renderings in addition to photos from significant contemporary photographers, this book is an essential study of one of the most significant and creative architecture and design studios working today.
Frank Lloyd Wright built a body of works and drawings to illustrate and explain his work: collections of designs with commentary that temperamentally parallel that work: irascible, radical, powerful and dense, astonishing and simple in its clarity. One of his earliest published works illustrates the parallel, preserving thought and design at a prophetic moment, shortly before Wright's genius and fame captured two continents and many converts. The Wasmuth portfolio of drawings (named after the original German publisher) is reproduced here from an extremely rare first edition (1910).
Wright's polemical preface indicates the importance he attached to the drawings and their publication: ". . . the work illustrated in this volume, with the exception of the work of Louis Sullivan, is the first consistent protest in bricks and mortar against this pitiful waste [academic, inorganic styles]. It is a serious attempt to formulate some industrial and aesthetic ideals that in a quiet, rational way will help to make a lovely thing of an American's home environment. . . ." "Home environment" for Wright was the Midwestern plain; these these drawings, perhaps his earliest experiments in organic design, partake of the Illinois, Indiana, Michigan and Wisconsin prairie with their emphasis on the horizontal ("the line of domesticity") and the environmental motif: "A beautiful elm standing near gave the suggestion for the mass of the building," Wright says of the Winslow house in River Forest, Illinois, a dwelling he cites as the first embodiment of many of his ideas. Elegant full-page architectural drawings and plans show Wright's atelier in Oak Park, Illinois, many homes, cottages, banks, a burial chapel, Unity Church temple, a concrete house designed for Ladies' Home Journal and numerous studies for buildings, treated as problems in design, that were never built.
The republication of this rare work gives access again to what has been called "the single most important collection of work published by Frank Lloyd Wright." Students of American architectural genius will find here the seeds of Wright's greatness.
McCarter examines here how Wright aspired to influence America’s evolving democratic society by the challenges his buildings posed to traditional views of private and public space. He investigates Wright’s relationships with key leaders of art, industry, and society, and how their views came to have concrete significance in Wright’s work and writings. Wright argued that architecture should be the “background or framework” for daily life, not the “object,” and McCarter dissects how and why he aspired to this and other ideals, such as his belief in the ethical duty of architects to improve society and culture.
A penetrating study of the foremost pioneer in modern architecture, Frank Lloyd Wright offers a fascinating biographical chronicle that reveals the principles and relationships at the base of Wright’s production.
Specifically, this book situates Ando’s churches, particularly his world-renowned Church of the Light (1989), within the legacy of nothingness expounded by Kitaro Nishida (1870-1945), the father of the Kyoto Philosophical School.
Linking Ando’s Christian architecture with a philosophy originating in Mahayana Buddhism illuminates the relationship between the two religious systems, as well as tying Ando’s architecture to the influence of Nishida on post-war Japanese art and culture.
In Wright Studies Volume Two: Fallingwater and Pittsburgh, contributors Kathryn Smith, Neil Levine, and Richard Cleary concentrate on two themes: Smith focuses on Wright’s interest in the imagery of water in architecture while Levine and Cleary look at Wright’s relationship with Edgar Kaufmann, the department store magnate, and analyze the results—aesthetic and otherwise—of that relationship. All three deal with Fallingwater, built for Kaufmann in the 1930s, and other projects planned for Pittsburgh, which included a planetarium, a civic center, a parking garage, and an apartment house.
Smith discusses how Wright refined his integration of bodies of water into his designs over the course of his career, the most successful of which is Fallingwater. Levine provides historical background on Fallingwater and analyzes the architectural elements of the design while emphasizing Fallingwater’s temporal dimension. Cleary covers Wright’s Pittsburgh projects and Edgar Kaufmann Sr.’s role in them.
Wright Studies Volume Two is richly illustrated, with seventy-three halftones and twenty-three line drawings.
Super Potato's powerful designs for the interiors of restaurants, shops and hotels, as well as Takashi Sugimoto's designs for tea ceremony spaces and utensils, are richly complex compositions of materials which create simple, strong spaces.
Using traditional Japanese building materials such as bamboo, wood, and stone, but crating original yet timeless spaces, Super Potato's designs avoid specific stylistic characterizations and short-lived fashion. By finding contemporary expression for important concepts present in traditional Japan and combining materials in unexpected ways to create exciting spaces, Super Potato's work has had a significant impact on interior design in Japan and throughout Asia.
Super Potato Design is generously illustrated with 320 full-color photographs by the respected Japanese photographer Yoshio Shiratori, who has recorded Super Potatos projects since the firm's conception in 1973. Architect and Japan scholar Mira Locher introduces the ideas and influences of Takashi Sugimoto, the founder and principle designer of Super Potato, and provides a thorough explanation of each project. Architectural drawings further describe the projects. A forward by Tadao Anso, interviews between Takashi Sugimoto and architect Kiyoshi Sey Takeyama, and also graphic designer Kenya Hara, explore the ideas relevant to Japanese designers today. A list of the Complete Works of Super Potato rounds off the book.
Yet, the questions concerning the method of form expression in contemporary architecture, and its meaning, remain very much open. Performalism takes up this discussion, defines it and presents changes in form conception in architecture, followed by their repercussions.
The book is supported by a wealth of case studies from some of the top firms across the globe and contributed to by some of the top names in this field. With a unique and insightful emphasis on professional practice this is essential reading for all architects, aspiring and practicing.
A shift in the architecture industry’s focus in the last 20 years toward
ecological concerns, long-term value, and user comfort has coincided with
significant new developments in digital controls, actuators, shading
typologies, building physics simulation capability, and material performance.
This collision has afforded architects an expanded set of opportunities to create
architecture that can respond directly to environmental conditions, resulting
in innovative façade designs that quickly become landmarks for their cities.
Authors Russell Fortmeyer and Charles Linn trace the historical
development of active façades in modern architecture, and reveal how
contemporary architects and consultants design and test these systems.
In response to the scandal generated by his open affair with the proto-feminist and free love advocate Mamah Borthwick Cheney, Wright had begun to build Taliesin as a refuge and "love cottage" for himself and his mistress (both married at the time to others).
Conceived as the apotheosis of Wright’s prairie house style, the original Taliesin would stand in all its isolated glory for only a few months before the bloody slayings that rocked the nation and reduced the structure itself to a smoking hull.
Supplying both a gripping mystery story and an authoritative portrait of the artist as a young man, Drennan wades through the myths surrounding Wright and the massacre, casting fresh light on the formulation of Wright’s architectural ideology and the cataclysmic effects that the Taliesin murders exerted on the fabled architect and on his subsequent designs. Best Books for General Audiences, selected by the American Association of School Librarians, and Outstanding Book, selected by the Public Library Association
When he got the commission to design the house, Wright was nearing seventy, his youth and his early fame long gone. It was the Depression, and Wright had no work in sight. Into his orbit stepped Edgar J. Kaufmann, a Pittsburgh department-store mogul–“the smartest retailer in America”–and a philanthropist with the burning ambition to build a world-famous work of architecture. It was an unlikely collaboration: the Jewish merchant who had little concern for modern architecture and the brilliant modernist who was leery of Jews. But the two men collaborated to produce an extraordinary building of lasting architectural significance that brought international fame to them both and confirmed Wright’s position as the greatest architect of the twentieth century.
Fallingwater Rising is also an enthralling family drama, involving Kaufmann, his beautiful cousin/wife, Liliane, and their son, Edgar Jr., whose own role in the creation of Fallingwater and its ongoing reputation is central to the story. Involving such key figures of the l930s as Frida Kahlo, Albert Einstein, Henry R. Luce, William Randolph Hearst, Ayn Rand, and Franklin Roosevelt, Fallingwater Rising shows us how E. J. Kaufmann’s house became not just Wright’s masterpiece but a fundamental icon of American life.
One of the pleasures of the book is its rich evocation of the upper-crust society of Pittsburgh–Carnegie, Frick, the Mellons–a society that was socially reactionary but luxury-loving and baronial in its tastes, hobbies, and sexual attitudes (Kaufmann had so many mistresses that his store issued them distinctive charge plates they could use without paying).
Franklin Toker has been studying Fallingwater for eighteen years. No one but he could have given us this compelling saga of the most famous private house in the world and the dramatic personal story of the fascinating people who made and used it.
A major contribution to both architectural and social history.
From the Hardcover edition.
In Exhibiting Blackness, art historian Bridget R. Cooks analyzes the curatorial strategies, challenges, and critical receptions of the most significant museum exhibitions of African American art. Tracing two dominant methodologies used to exhibit art by African Americans -- an ethnographic approach that focuses more on artists than their art, and a recovery narrative aimed at correcting past omissions -- Cooks exposes the issues involved in exhibiting cultural difference that continue to challenge art history, historiography, and American museum exhibition practices. By further examining the unequal and often contested relationship between African American artists, curators, and visitors, she provides insight into the complex role of art museums and their accountability to the cultures they represent.
Complemented by 28 photographs and 18 line illustrations, this comprehensive narrative describes Brunelleschi's many remarkable achievements, among them masonry techniques for building the cupola; construction concepts, including the use of stone and wood chains; machines he devised and built (a reversible hoist and elevated cranes); and other inventions.
Of value to students of architecture and engineering, this volume will appeal to anyone with an interest in Renaissance studies.
At age 28, Robie had become a highly successful businessman who conceived the idea of building a grand home in his native Chicago. He insisted on a design incorporating features that were innovative for the day: hallways and stairwells situated to conserve valuable space, rooms that suggested feelings of airiness, and narrow trimmings on doorways and windows, among others. Robie's wish to shape space as a means of personal expression meshed with Wright's own feelings and spirit. The two strong-willed men formed a perfect union: Robie had found his architect and Wright his ideal client.
Drawing on revealing family documents, including a 1958 interview with Robie, and a host of other sources, the author has compiled an authoritative photo-history, enabling the reader to witness each stage and various transformations of a landmark of modern architecture. The text is enhanced by 160 carefully selected illustrations, including perspectives and elevations, cross-sectional drawings, floor plans, designs for windows, carpets, lighting fixtures and other furnishings, plus recent and historic photographs. Now students, architects, any lover of fine buildings can watch an architectural masterpiece take shape in this profusely illustrated history of the house Wright himself labeled "a source of world-wide architectural inspiration."
Brown AIA, Tiltwallism is designed to be an introductory resource to
architects and an inspiration to contractors, developers and structural
consultants who have encountered the technology of Tilt Wall construction. The
vast amount of trade and technical information available on the subject is
interpreted in a formal treatment for the first time on a subject at the
forefront of the architectural role in an era of lowered construction costs.
Brown provides a
full synthetic treatment of Tilt Wall construction by laying
out the design opportunities in engaging in the architectural exploration of a
low technology / low cost form of construction. He explains its history,
methodology, and relationship to current architectural approaches to meaning. Brown
writes in a balanced style targeted at both architects and academics that will
also be accessible to non-architects and allied professionals. The title is
richly illustrated in an effort to be useful to the many ancillary professions
such as contractors, developers, and real estate brokers who are driving this
increasingly prevalent approach to “investment” architecture.
Volume two features an essay by Safdie presenting his views on the significant issues facing architects today. Complementing this piece are texts by William J. Mitchell on the theme of a global practice responding to a wide range of varied local conditions, and by Thomas Fisher on Safdie's books, which represent another of Safdie's significant contributions to the global architectural dialogue. Among the projects covered in these pages are, in the U.S., the Salt Lake City Main Public Library, the Peabody Essex Museum and the U.S. Institute of Peace Headquarters; in Israel, the Holocaust History Museum at Yad Vashem, the Yitzhak Rabin Center and the new city of Modi'in; in India, the Khalsa Heritage Memorial Complex; and in China, the Guangdong Science Center and the Guangzhou No. 2 Children's Palace.
Both volumes demonstrate the depth of Safdie's work, every example of which is a unified expression of its technology and materials as well as its setting and purpose.
Author Donald Langmead guides readers through Lin's ancestry and family connections in precommunist China; her childhood and youth in Athens, Ohio; the story behind the Vietnam Veterans Memorial in Washington, DC; her career after 1982 (by decades); and emphasis on environmental conservation. Written for a young adult and general readership, Maya Lin: A Biography provides an up-to-date description of how she became one of the most famous and respected artists in America.
This book accompanied a special museum exhibit of Jones’s life and work at the Old State House in Little Rock. It traces Jones’s development from his early years as a student of Frank Lloyd Wright and Bruce Goff, to the culmination of his ability in such arresting structures as Pinecote Pavilion in Picayune, Mississippi; Thorncrown Chapel in Eureka Springs, Arkansas; and Chapman University Chapel in Orange, California. Through the black-and-white photographs of the homes, chapels, and other buildings that Jones has created and the accompanying captions and interviews of the architect, the reader is allowed a view into this man’s remarkable talent.
Designing structures that fuse architecture and landscape, the organic and the man-made, Jones has created special places which touch their viewers with the power and subtlety of poetry. Herein we learn why.
From the Foreword by Robert Adams Ivy Jr.:
“Fay Jones’s architecture begins in order and ends in mystery. . . . His role can perhaps best be understood as mediator, a human consciousness that has arisen from the Arkansas soil and scoured the cosmos, then spoken through the voices of stone and wood, steel and glass. Art, philosophy, craft, and human aspiration coalesce in his masterworks, transformed from acts of will into harmonies: Jones lets space sing.”
Building Art shows the full range of Gehry’s work, from early houses constructed of plywood and chain-link fencing to lamps made in the shape of fish to the triumphant success of such late projects as the spectacular art museum of glass in Paris. It tells the story behind Gehry’s own house, which upset his neighbors and excited the world with its mix of the traditional and the extraordinary, and recounts how Gehry came to design the Guggenheim Museum in Bilbao, Spain, his remarkable structure of swirling titanium that changed a declining city into a destination spot. Building Art also explains Gehry’s sixteen-year quest to complete Walt Disney Concert Hall, the beautiful, acoustically brilliant home of the Los Angeles Philharmonic.
Although Gehry’s architecture has been written about widely, the story of his life has never been told in full detail. Here we come to know his Jewish immigrant family, his working-class Toronto childhood, his hours spent playing with blocks on his grandmother’s kitchen floor, his move to Los Angeles when he was still a teenager, and how he came, unexpectedly, to end up in architecture school. Most important, Building Art presents and evaluates Gehry’s lifetime of work in conjunction with his entire life story, including his time in the army and at Harvard, his long relationship with his psychiatrist and the impact it had on his work, and his two marriages and four children. It analyzes his carefully crafted persona, in which a casual, amiable “aw, shucks” surface masks a driving and intense ambition. And it explores his relationship to Los Angeles and how its position as home to outsider artists gave him the freedom in his formative years to make the innovations that characterize his genius. Finally, it discusses his interest in using technology not just to change the way a building looks but to change the way the whole profession of architecture is practiced.
At once a sweeping view of a great architect and an intimate look at creative genius, Building Art is in many ways the saga of the architectural milieu of the twenty-first century. But most of all it is the compelling story of the man who first comes to mind when we think of the lasting possibilities of buildings as art.
From the Hardcover edition.
In Building Victorian Boston, Roger Reed focuses on representative projects by Bryant, presenting them in a chronological narrative that both illuminates the trajectory of his career and creates a portrait of the profession of architecture during a defining period of New England history. Bryant designed more major buildings in Boston from 1840 to 1880 than any other architect. He also undertook commissions throughout New
England, especially in towns linked to Boston by newly constructed railroad lines. In many ways, his practice presaged aspects of modern architectural firms. His ability to work with a variety of designers, his expertise in construction management, and his exceptional talent for self-promotion all contributed to his success. Although by the time of his death his work was no longer fashionable, newspaper accounts noted the passing of the "Famed Bostonian" and "Great Builder" whose career had had such a dramatic impact on the face of the city.
For this volume, Reed has tracked down hundreds of Bryant's drawings as well as specifications, letters, newspaper articles, published renderings, and historical photographs. These materials are amply represented in this book, the definitive study of a quintessential Victorian architect.
As architects separated themselves from amateur and gentlemen designers on the one hand and masons and carpenters on the other, members of the profession were distinguished by their ability to draw and their possession of a common body of learning gleaned from printed sources. Clients and patrons expected architects to derive their designs from precedents communicated in books. These publications reproduced the work of European masters and, eventually, Anglo-American examples as well.
The essays in this volume range from studies of architectural publications available in the colonies, to the appearance of American architectural incunabula, to the revolution in architectural publishing that occurred in the 1830s and 1840s. In addition to the editors, contributors include Sarah Allaback, Bennie Brown, Jeffrey A. Cohen, Abbott Lowell Cummings, Robert F. Dalzell Jr., Michael J. Lewis, Martha J. McNamara, Damie Stillman, Richard Guy Wilson, and Charles B. Wood III.
Frank Lloyd Wright is widely regarded as the twentieth century’s greatest architect — an unconventional genius who transformed both residential and commercial building design with his concept of “organic” architecture. During a long and productive life, Wright designed some 800 buildings, received scores of honors and awards, and left an indelible imprint on modern architectural theory and practice.
In this charming, readable memoir, Wright the architect and father comes to life through the vivid recollections and firsthand knowledge of his son. John Lloyd Wright characterizes his father as “a rebel, a jolt to civilization, whose romantic theme — purposive planning and organic unity in inventing and combining forms — is an epoch in the architecture of the world.” His unique view of the “epoch” will intrigue architects, students, and all who admire the work of this visionary and uncompromising spirit. An added attraction of this volume is the inclusion of the complete text of William C. Gannet's The House Beautiful, an extremely rare work designed and printed by Frank Lloyd Wright.
As a leading figure of the Arts and Crafts movement in Britain his fame and influence extended to the United States to the next generation of American Arts and Crafts architects and early Modernists, notably Greene & Greene, Bernard Maybeck and Frank Lloyd Wright. In Europe, fundamental aspects of Voysey’s design approach were embraced by the Dutch De Stijl group; during the 1920s, and eventually also by the German Bauhaus movement.
Voysey was renowned also for his beautiful watercolour drawings. He retained the vast majority of his own drawings throughout his career, and late in life arranged for these to be donated to the Royal Institute of British Architects.
Despina Stratigakos's provocative examination of the past, current, and potential future roles of women in the profession begins with the backstory, revealing how the field has dodged the question of women's absence since the nineteenth century. It then turns to the status of women in architecture today, and the serious, entrenched hurdles they face. But the story isn't without hope, and the book documents the rise of new advocates who are challenging the profession's boys' club, from its male-dominated elite prizes to the erasure of women architects from Wikipedia. These advocates include Stratigakos herself and here she also tells the story of her involvement in the controversial creation of Architect Barbie.
Accessible, frank, and lively, Where Are the Women Architects? will be a revelation for readers far beyond the world of architecture.
available to help people write better. They include dictionaries, usage guides,
and various types of writers’ manuals – and professional writers ought to have
many of those books on their bookshelves. But most architects and other design
and construction professionals are not professional writers. Instead, they are people
who spend a large part of their professional lives writing. That’s a big
difference, and that’s where this book will help. The Architect’s Guide to Writing has been written not by an English
major, but by Bill Schmalz, an architect who knows the kinds of documents his
fellow professionals routinely have to write, and understands the kinds of
technical mistakes they often make in their writing. This book is designed to
meet the specific needs of design and construction professionals. It’s not
going to waste their time with the things that most educated professionals
know, but it will help them with the things they don’t know or are unsure of.
It’s not a Chicago Manual-sized
encyclopaedic reference that includes everything any writer would ever need to
know, because architects don’t need to know everything. But what they do need
to know – and what they use every day in their professional lives – has been
assembled in this book.
In The Perfect House, bestselling author Witold Rybczynski, whose previous books (Home, A Clearing in the Distance, Now I Sit Me Down) have transformed our understanding of domestic architecture, reveals how a handful of Palladio's houses in an obscure corner of the Venetian Republic should have made their presence felt hundreds of years later and halfway across the globe. More than just a study of one of history's seminal architectural figures, The Perfect House reflects Rybczynski's enormous admiration for his subject and provides a new way of looking at the special landscapes we call "home" in the modern world.
This richly illustrated
monograph tells the comprehensive inside story of one of the greatest architecture
achievements in the history of Oklahoma City, and the state’s tallest building:
the Devon Energy Center. The story begins with the
project's origins in Oklahoma City's need for community redevelopment and a
desire for corporate growth, through its elegant and collaborative design
process, to its complex construction and realization. Intended for everyone
interested in the development of landmark structures and 21st-century
skyscrapers, the book is both technical and highly visual, including an impressive
collection of the concept and architectural drawings and models by Pickard
Chilton, the project's Design Architect. Each expertly crafted component of
this complex development—including its heaven-piercing tower, its glass
rotunda, the free-standing Devon Auditorium, the 50th-story restaurant, Devon
Gardens, and its exquisite palette of materials—are discussed and featured. The
monograph concludes with a visual essay of beautiful photographs of the
completed project, captured by some of the country's premiere architectural
Authored by architecture
critic Michael J. Crosbie, the narrative takes the reader through the Center’s
complex history, addressing the project's grand urban design and its vital
impact on the civic, social, and urban fabric of the city. Dr. Crosbie also
relates tales and insights gained from interviews of the project's many
collaborators: Devon Energy, developers, and the many architecture, design,
engineering, and construction professionals. The text reveals the project as
both an immense collaborative effort and as a singular vision of the
philanthropic Devon Executive Chairman, Larry Nichols.