Ferruccio Vitale is America's forgotten landscape architect. Though his works like Skylands and Longwood Gardens are well known, his name has been eclipsed by his contemporary, Frederick Law Olmsted, Jr. Yet Vitale's influence on the modern direction of landscape design and his promotion of it as a profession is arguably more significant than Olmsted's. His unique designs and philosophy, which challenged the then-dominant pictorial mode of landscape architecture, influenced generations of followers, and is still felt today. Vitale (1875-1933) developed his rationale designs, based on the principles of composition from the fine arts and architecture, in both civic commissions and, most notably, at the country estates of captains of industry and finance. He introduced an idealized and abstracted type of formal design that created beautiful spaces, structured large sites, and reflected informal and relaxed plant compositions. Ferruccio Vitale tours over 40 of his masterworks, photographed by some of the best landscape photographers of the time, including Samuel Gottscho. It recounts the compelling story of a life in the early twentieth century, influenced by immigrant dreams, social clubs, and professional connections, and its culmination in some of the greatest landscapes of the 20th century.
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.
The name Luis Barragan evokes images of Latin American modernism-brightly colored plain surfaces set off against lush foliage. His 1,250-acre Gardens of El Pedregal, begun in 1945 on the lava fields of south of Mexico City, were dotted with houses and plazas, fountains and ponds, cacti and pepper trees. Barragan considered El Pedregal his most important project, and critics have described the houses and gardens there as a turning point in Mexican architecture.This book examines El Pedregal's program and form, its representation in architect-commissioned photographs and advertising, and its place within contemporary discourses on cultural identity, design and place, and suburbanization.Like our highly acclaimed Revolution of Form, Luis Barragan's Gardens of El Pedregal offers an in-depth analysis of this now mostly destroyed project through original documents, drawings, color and black-and-white photography, and critical examinations of the design process.
To combine architecture and imagination in a fashion as light and variable as clouds was the credo proclaimed by Wolf D. Prix and Helmut Swiczinsky when they founded the practice of Coop Himmelb(l)au in 1968 in Vienna (Himmelblau = heavenly blue). Their radical, iconoclastic and deconstructivist approach to architecture expresses the energy and tension of each site and location in spectacular fashion. Among the projects that established their international reputation are the Groningen Museum pavilion and Dresden UFA Cinema Complex. Their work has also featured in numerous exhibitions and they have represented Austria at the Architecture Biennial in Venice. This monograph is the first publication to present the theoretical and conceptual content of Coop Himmelb(l)au's oeuvre.
A narrative in correspondence from the Guggenheim Letters, a remarkable archive that, in its entirety, would make a stack equal in height to the model of the Guggenheim Frank Lloyd Wright made in 1946. Here is a very personal and detailed account of the creative struggle required to build the extraordinary Guggenheim Museum.It is a seventeen-year saga which saw the firing of the first curator, the death of the donor, and the creation of six complete sets of plans and 749 drawings. Ironically, Wright died six months before its completion.From its opening in October 1959, The Solomon R. Guggenheim Museum has been recognized as Frank Lloyd Wright s crowning achievement. Pfeiffer demonstrates that the story of its construction is arresting drama as well. The Guggenheim, while periodically modified and adapted to meet its changing needs, continues to give expression to Wright s artistic vision and is a testament to the spirit of both Wright and Guggenheim."
I.M.Pei has designed some of the world's most elegant and powerful buildings. The revised edition of Abrams' 1990 book features a new chapter that covers Pei's work between 1990 and 2001 -- a flurry of creativity that included commissions for the Rock and Roll Hall of Fame in Cleveland, the final phases of work on the Louvre, and museums in Luxembourg, Germany, and Japan.
Dozens of color photographs present Pei's buildings in all their splendid variety, while scores of revealing drawings, plans, and models, as well as personal and documentary photographs, make this the only comprehensive record of the work of an architectural giant, one who has won every important honor in his field.
The architecture of Gert WingA rdh is reminiscent of Frank Lloyd Wright in its bright spaciousness, and the aesthetically pleasing details would be worthy of Carlo Scarpa. His buildings do not stubbornly adhere to one style but respond to the task in hand and the surrounding environmental conditions. Sweden's rich tradition of building with wood and a strong ecological awareness are combined with high tech expertise. With successful projects such as the school building in NAdinge, the control tower at Stockholm's Arlanda airport, the science centre in Gothenburg, Ericsson's office in London, and the chancellery at the Swedish Embassy in Berlin, WingA rdh has become Sweden's most prominent architect, heading his own architectural firm with offices in Gothenburg and Stockholm since 1977.
"This book fills one of the many gaps in our knowledge of twentieth-century architects who were not Modernists. Lundie's more or less Traditional work is enhanced by its ferocious exploitation of rough materials, and, in the cabins especially, by what seems to be primordial Scandinavian references quite at home in the north woods of Minnesota" Vincent Scully, Sterling Professor Emeritus of the History of Art, Yale University
"Edwin Lundie was the great romantic among Minnesota architects, and this lovely book at last gives his work the recognition it so richly deserves." Larry Millett, author of Lost Twin Cities
"This book reveals Edwin Lundie to be an architect imbued with a passion for his art that few attain, let alone sustain for a lifetime. His buildings, as did those of the architect Sir Edwin Lutyens, attained an instant patina. This was the product of a mind that created character and composition by means of an extraordinary attention to the craft and construction of architecture. To realize that I received my architectural education at the University of Minnesota in the late 1950s without an awareness of Mr. Lundie's presence, to say nothing of his mastery of architectural form, leaves me incredulous." William Peterson, Kohn Pederson Fox Associates PC, Architects & Planning Consultants, New York City
Throughout a fifty-year career in St. Paul, architect Edwin H. Lundie (1886-1972) designed more than three hundred projects, predominantly residences, many utilizing either Northern European or Earl American themes. His architectural designs, along with the Prairie School inventions of Purcell and Elmslie and the modernist themes of Ralph Rapson, are collectively considered the best work of Minnesota architects in the twentieth century. What set Lundie apart from his colleagues was his devotion to detail and love of fine craftsmanship.
Long overlooked as architects moved away from picturesque themes in favor of modernism, Lundie's designs are now enjoying a resurgence of attention concurrent with revived interest in postmodernism, regionalism, and a sense of place. For the first time, the significance of this unique body of work is presented in The Architecture of Edwin Lundie for architects, art historians, designers, builders, craftspeople, students, and the general public.
Author Dale Mulfinger undertook this book after a decade of studying and recording Lundie's buildings and lecturing at local, regional, and national forums. Here he brings together a foreword by David Gebhard that sets Lundie in a national context; a biographical essay by Eileen Michels; his own piece assessing Lundie's design principles; outstanding color photographs by Peter Kerze; and beautiful rendering in pencil and ink by Lundie himself. In addition, the book offers thirty profiles of individual buildings with photos, floor plans, and drawings to highlight feature demonstrating Lundie's genius.
"Sm4to, 121pgs. Full bound white paper wraps with black titling on front cover and spine. Book is solid and interior is clean and bright, replete with color images and floor plans of Edwin Lundie's houses. Corner tips have a touch wear else in excellent condition.