Most books about architecture and urban environments give the impression that the world is a flat place inhabited by very rich countries and very poor countries. More complex physical and geographical realities exits, however, as well as places with middling economies. In this book, architect Eduard Bru discusses some of these places, many of which are found in southern Europe, and through them he reflects on the present and the immediate future of the built environment, using parameters different from those of the dominant Dutch/North American majority. He defends, for poorer countries, a construction of space by means of non-ephemeral, highly neutral, even atemporal objects whose meanings change with time.
Now available in a paperback edition, this beautifully illustrated volume remains the first comprehensive work to examine turn-of-the-century architect Charles Rennie Mackintosh's crowning achievement--the Glasgow School of Art. Meticulously compiled by fine-art and architecture staff members of the Glasgow School, the book includes 200 color and black-and-white photographs documenting the landmark building's innovative structure and decoration, including the remarkable furniture Mackintosh designed specifically for the interior. Seven essays by some of the world's foremost architectural historians complete this exceptional volume. Architects and designers, as well as the ever-growing audience for the Arts and Crafts movement, will find this both an invaluable guide and a stunning tribute to an extraordinary artist.
In a collection of projects developed during the 1990s, Margaret Helfand Architects argues for an architecture of logic, simplicity, and sensuality. Presented chronologically, nineteen projects ranging from showrooms, residences, academic buildings, parks, and functional objects are examined in photographs and texts along the three axes fundamental to the firm's work: geometry, structure, and materials. Basic materials such as steel, wood, glass, and stone are used with a minimum of transformation, allowing their inherent colors, textures, and structural properties to create visual stimulation. Seen are such diverse works as Vertical House on a Trapezoidal Site, Octagon: Structure and Landscape, and Apartment for Art and Music, as well as the Time Out New York offices, Williamsburg Community Center, and a child development center.
This architecture points to a future in which buildings will rely on their own function, materiality, and craftsmanship to express their time in history. A theoretical context for the work is provided in an essay by Paola Antonelli, associate curator of architecture and design at the Museum of Modern Art in New York, along with photographs by the acclaimed architectural photographer Paul Warchol.
Cass Gilbert's illustrious architectural career dawned in his twentieth year, not with an American building but with a sheaf of European sketches. In 1880 he crossed the Atlantic with high hopes but only the vaguest prospect of work, either abroad or on his return. Armed with pencil, pen, and watercolor brushes, Gilbert visually raided the cities and countrysides of England, Italy, and France for their architectural wonders, their scenery, and anything else that served his fascination with the monumental and the picturesque. He returned home bitterly disappointed at not finding a position in England; but the spoils he brought back with him -- a matchless portfolio of studies and sketches -- earned him entrie into one of the foremost architectural offices in the country and served as the foundation for a long and fruitful career. It is only fitting that these earliest glimmerings of his talent, strong enough even then to win acclaim among his peers in New York and Paris, should at last be brought into the light.Cass Gilbert Abroad combines the fledgling architect's drawings and watercolor sketches from his European tour with letters he wrote home to his mother and to his closest friend and architectural confidant, Clarence Johnston.
This text looks at the Lawson-Westen House - the first major residence that Eric Owen Moss has completed since the Petal House, also in Los Angeles, which led to him being mis-cast as an unpredictable practical joker. He is now regarded equal in skill to Frank Gehry.
An architect for the Santa Fe Railway and the Fred Harvey Company, Colter laid the groundwork for female architects who followed. Seven of her remarkable structures are preserved in Grand Canyon's historic district. This is her story.