The books in the Florida and the Caribbean Open Books Series demonstrate the University Press of Florida's long history of publishing Latin American and Caribbean studies titles that connect in and through Florida, highlighting the connections between the Sunshine State and its neighboring islands. Books in this series show how early explorers found and settled Florida and the Caribbean. They tell the tales of early pioneers, both foreign and domestic. They examine topics critical to the area such as travel, migration, economic opportunity, and tourism. They look at the growth of Florida and the Caribbean and the attendant pressures on the environment, culture, urban development, and the movement of peoples, both forced and voluntary. The Florida and the Caribbean Open Books Series gathers the rich data available in these architectural, archaeological, cultural, and historical works, as well as the travelogues and naturalists' sketches of the area in prior to the twentieth century, making it accessible for scholars and the general public alike. The Florida and the Caribbean Open Books Series is made possible through a grant from the National Endowment for the Humanities and the Andrew W. Mellon Foundation, under the Humanities Open Books program.

The completion of David Chipperfield's distinctive new building for Kunsthaus Zurich in December 2020 has nearly doubled the museum's overall space. In combination with the preceding refurbishments of the earlier buildings, this has made it fit to meet the demands of an art museum in the 21st century. A sequel to The Architectural History of the Kunsthaus Zurich 1910-2020, this book comprehensively introduces the new Kunsthaus Zurich, demonstrating how the task of building an art museum in the 21st century can be fulfilled. Concise texts, statements by protagonists and by future users and visitors as well as numerous illustrations trace the project's evolution and the construction process and look at the completed building from various perspectives. The book also highlights what features contemporary museum infrastructure has to offer and the architectural and urban design qualities it requires, and what financial and organisational challenges the entire undertaking implied. A conversation between experts exploring the expanded museum's impact on its immediate neighbourhood and Zurich's urban fabric as a whole rounds out the volume. Text in French.

Many books have been written about the University of Chicago over its 120-year history, but most of them focus on the intellectual environment, favoring its great thinkers and their many breakthroughs. Yet for the students and scholars who live and work here, the physical university - its stately buildings and beautiful grounds - forms an important part of its character. "Building Ideas: An Architectural Guide to the University of Chicago" explores the environment that has supported more than a century of exceptional thinkers. This photographic guide traces the evolution of campus architecture from the university's founding in 1890 to its plans for the twenty-first century. When William Rainey Harper, the university's first president, and the trustees decided to build a set of Gothic quadrangles, they created a visual link to European precursors and made a bold statement about the future of higher education in the United States. Since then the university has regularly commissioned forward-thinking architects to design buildings that expand - or explode - traditional ideals while redefining the contemporary campus. Full of panoramic photographs and exquisite details, "Building Ideas" features the work of architects such as Frank Lloyd Wright, Henry Ives Cobb, Holabird & Roche, Eero Saarinen, Ludwig Mies van der Rohe, Walter Netsch, Ricardo Legorreta, Rafael Vinoly, Cesar Pelli, Helmut Jahn, and Tod Williams Billie Tsien Architects. The guide also includes guest commentaries by prominent architects and other notable public figures. It is the perfect collection for Chicago alumni and students, Hyde Park residents and visitors, and anyone inspired by the institutional ideas and aspirations of architecture.

Text in English & German. Since the 1950s Stefan Polonyi has realised a large number of buildings of all kinds from his Cologne office, working with famous architects all over the world. In his view, load-bearing structure, form and function have to form an indissoluble entity, and thus create an aesthetic appearance: beauty feeds on structural consistency. Very few civil engineers have made claims of this kind. Architects who have worked with Polonyi see this ambitious claim as something that has enriched their own design process. First of all Polonyi, working with Josef Lehmbrock and Fritz Schaller, developed bold folded structures and shells for church buildings, and this at a time before statical calculations were not done by computer, but a lot of things still had to be tried out in model form. Polonyi co-operated closely with Oswald Mathias Ungers on the Galleria for the Frankfurter Messe, among other projects. He made the flying roof for Axel Schultes' Kunstmuseum Bonn possible, supported by a row of irregularly placed columns, and also the undulating metal ceiling in the auditorium of Rem Koolhaas' Nederlands Dans Theater and the umbrella-like roofing for the approach tracks in Cologne's main station. Polonyi's bridges, built from the 1990s in the Ruhr District, have become landmarks in the meantime with their red curved tubes as a structural and aesthetic element. Today he creates his bridges as buildings over the river, so-called Living Bridges. Polonyi's wide range of professional experience had a considerable bearing on his teaching at Berlin and Dortmund Technical Universities. Working with architects Harald Deilmann and Josef Paul Kleihues, Polonyi established the "Dortmund Model for the Building Sciences". It provides joint training for architects and civil engineers in a single faculty. The present book is appearing to accompany the exhibition of the same name in the "Dortmunder U". The essays address specific aspects of Polonyi's work. So Karl-Eugen Kurrer and Ulrich Pfammatter look at the development of structural analysis and the resultant distinction drawn between the professional territories of the civil engineer and the architect. Patrik Schumacher, partner in Zaha Hadid's practice, represents a current position in terms of co-operation between the two disciplines. Katrin Lichtenstein's account of the Dortmund Model and Atilla OEtes' view of the current study situation consider the effect on training and teaching. Sonja Hnilica analyses the folding systems and shells in the church projects, and Polonyi presents his bridges, including the designs for the Living Bridges.

In the most comprehensive investigation of the Los Angeles Public Library's early history and architectural genesis ever undertaken, Kenneth Breisch chronicles the institution's first six decades, from its founding as a private library association in 1872 through the completion of the iconic Central Library building in 1933. During this time, the library evolved from an elite organisation ensconced in two rooms on the second floor of a downtown LA commercial block into one of the largest public library systems in the United States-with architect Bertram Grosvenor Goodhue's building, a beloved LA landmark, as its centrepiece. Goodhue developed a new style, fully integrating the building's sculptural and epigraphic program with its architectural forms to express a complex iconography. Working closely with sculptor Lee Oskar Lawrie and philosopher Hartley Burr Alexander, he created a great civic monument that, combined with the library's murals, embodies an overarching theme: the light of learning. "A building should read like a book, from its title entrance to its alley colophon," wrote Alexander-a narrative approach to design that serves as a key to understanding Goodhue's architectural gem.

Before the age of the lighthouse Scotland's untamed seas and perilous rocky coast too often witnessed the watery end to the mariner's voyage. From its establishment in 1786, it was the remit of the Northern Lighthouse Board to tame these harsh seas with the building of guiding lights around Scotland's rugged coast 'For the Safety of All'. The history of Scotland's lighthouses would be dominated by one family of engineers. For its first 150 years, the NLB would be shaped by four generations of the Stevenson family as lighthouse builders, innovators and inventors. From humble beginnings at Kinnaird Head, this family would perfect the engineering marvels of the Bell Rock and Skerryvore, and pioneer wireless technologies into the modern age. The lighthouse story is also one of habitation on the Stevensons' creations on the extremities of civilisation as the light-keepers, and their families, lived and served on the wind-battered terrain of Scotland's edge. It was a story of survival, a unique way of life, which came and went within the pages of this history. The technological breakthroughs which began with the Stevensons advanced to automation and the end of the light-keeper. Nowadays the lights still flash, but there's nobody there.

Text in English and German. Spanish museum architecture has experienced a marked upturn since the 1990s, helping even small towns off the tourist beaten track to acquire extraordinary museum buildings. This is expressed most visibly without a shadow of a doubt in Frank O Gehry's Guggenheim Museum in Bilbao. But there are not just the international stars who have contributed to this success. Spanish architects in particular have designed unique museums that have changed the look of whole towns. One example is the Museo de Arte Contemporaneo de Castilla y Leon in Leon in Castille, built by the Madrid architects Mansilla + Tunon. Rafael Moneo, who recently completed the annexe for the Museo del Prado in Madrid is still the undisputed leading figure in Spanish architecture, but in the meantime architects like Mansilla + Tunon, who trained under Moneo, are attracting attention internationally as well as in Spain, and so are young talents who have just left architecture school and are successfully designing museums. Spanish architects use a wide variety of formal languages. And yet there are some characteristics that apply to them all: they have never been interested in the games Postmodernism plays; many of them value reinterpreting regional building traditions in a modern way; they are also sensitive to special features of the existing topography. Kenneth Frampton said in this context that Spanish architecture essentially runs counter to the globalisation tendencies that are increasingly reducing architectural form to a comfortable aesthetic product. The present book, which is also suitable as a museum guide, shows that this tendency is particularly conspicuous in the new museums. It confirms the world-class nature of Spanish architecture, recorded from Rafael Moneo's early Museo de Arte Romano in Merida to Herzog and de Meuron's new Calixa Forum art gallery in Madrid.

The book goes beyond the assembly line to examine the physical environment of the industrial landscape. What machines are used to make cars and computer chips? Who are the people who make the products? When did robots replace humans on the assembly line? Why are factories configured the way they are? The Factory: A Social History of Work and Technology answers these questions and more, offering readers a behind-the-scenes look into the wonders of mass production. The book traces the history of the factory from the first small cottage workshop through the Industrial Revolution to the large, clean room it is today. It also examines the people behind the machines and how their roles have been defined by the design of factory buildings. Lastly, it illustrates the broader world of industrialization in relation to the effects it has had on workers and the consumer society that feeds it. Appeals to readers interested in world history, industrial tourism, and the robotics industry Explains the significance of the factory to American history and culture Tells the story of American factory work through spaces and objects Details how factory buildings have evolved over the years

Henry Flagler's opulent Hotel Ponce de Leon drew worldwide praise from the day its elaborately carved doors opened in 1888. Built in the Spanish Renaissance Revival style, the architectural and engineering marvel featured the talents of a team of renowned artisans, including the designs of architects John Carrere, Thomas Hastings, and Bernard Maybeck, electricity by Thomas Edison, and interior decoration and stained glass windows by Louis Tiffany. The rich and famous strolling its halls were the most successful people of the Gilded Age, including John D. Rockefeller, Mark Twain, Alexander Graham Bell, and President Teddy Roosevelt. But with the Great Depression, the gem of Flagler's empire began a slow decline until Flagler College acquired it in 1968 as the centerpiece of its campus. Hotel Ponce de Leon is the first work to present the building's complete history and detail its transformation into the heart of Flagler College. Leslee Keys, who played a major role in the restoration, recounts the complicated construction of the hotel - the first major structure to be built entirely of poured concrete - and the efforts to preserve it and restore it to its former glory. The methods used at Flagler College have been recognized as best practices in historic preservation and decorative arts conservation, and today the campus is one of Florida's most visited heritage tourism destinations.

American architect Paul Rudolph (1918-1997) was internationally known in the 1950s and early 1960s for his powerful, large-scale concrete buildings. Hugely influential during his lifetime, Rudolph was one of the most significant American architects of his generation. To a remarkable extent, his reputation rose and fell with the fortunes of postwar modernism in America. This insightful book reconsiders Rudolph's architecture and the discipline's assessment of his projects. It includes nearly a dozen essays by well-known scholars in the fields of architectural and urban history, all of which shed new light on Rudolph's theories and practices. Contributions explore the architect's innovative use of materials, including plywood, Plexiglas, and exposed concrete; the places he lived and worked, from the Anglo-American axis to the Bengal delta; his affiliation with CIAM (Congres Internationaux d'Architecture Moderne); and currents within his philosophy of architecture. Distributed for the Yale School of Architecture

In much the same way that views of the Earth from the Apollo missions in the late 1960s and early 1970s led indirectly to the inauguration of Earth Day and the modern environmental movement, the dawn of aviation ushered in a radically new way for architects, landscape designers, urban planners, geographers, and archaeologists to look at cities and landscapes. As icons of modernity, airports facilitated the development of a global economy during the twentieth and early twenty-first centuries, reshaping the way people thought about the world around them. Professionals of the built environment awoke to the possibilities offered by the airports themselves as sites of design and by the electrifying new aerial perspective on landscape.

In "Flights of Imagination, " Sonja Dumpelmann follows the evolution of airports from their conceptualization as a landscape and a city to modern-day plans to turn decommissioned airports into public urban parks. The author discusses landscape design and planning activities that were motivated, legitimized, and facilitated by the aerial view. She also shows how viewing the Earth from above redirected attention to bodily experience on the ground and illustrates how design professionals understood the aerial view as simultaneously abstract and experiential, detailed and contextual, harmful and essential. Along the way, Dumpelmann traces this multiple dialectic from the 1920s to the land camouflage activities during World War II, and from the environmental and landscape planning initiatives of the 1960s through today.

The Bloomington campus of Indiana University, home to the Hoosiers, is widely known and acknowledged as one of the most picturesque college campuses in the United States, with the likes of Harvard, Princeton, and other prominent universities. Its Sample Gates and limestone buildings welcome students to a nearly 2,000-acre campus that sits in the rolling hills of southern Indiana, surrounded by natural beauty. Named by Travel & Leisure as one of America s Most Beautiful College Campuses, this quintessential treasure houses the largest student union building in the United States, representing the core of the original campus and the architectural planning that went into the early years. As the campus grows, this expansion carefully continues in the same tradition. A multitude of green space, including Dunn Woods, the Arboretum, and the Jordan River provide breathtaking scenery, while music, arts, and sports receive worldwide attention. This pictorial collection will delight students, parents, alumni, and Hoosiers alike."

"The marvelous story of one of New York City's most unique buildings
"Critics hated it. The public feared it would fall over. Passersby were knocked down by the winds. But even before it was completed, the Flatiron Building had become an unforgettable part of New York City.

Alice Sparberg Alexiou chronicles not just the story of the building, but the heady times in which it was built. It was the dawn of the twentieth century, a time when Madison Square Park shifted from a promenade for rich women to one for gay prostitutes; when photography became an art; motion pictures came into existence; the booming economy suffered increasing depressions; jazz came to the forefront of popular music--and all within steps of one of the city's best-known and best-loved buildings.

From backwoods bars and small-town dives to swampside dance halls and converted clapboard barns, Louisiana Saturday Night offers an anecdotal history and experiential guidebook to some of the Gumbo State's most unique blues, Cajun, and zydeco clubs.

Music critic Alex V. Cook uncovers south Louisiana's wellspring of musical tradition, showing us that indigenous music exists not as an artifact to be salvaged by preservationists, but serves as a living, breathing, singing, laughing, and crying part of Louisiana culture. Louisiana Saturday Night takes the reader to both offbeat and traditional venues in and around Baton Rouge, Cajun country, and New Orleans, where we hear the distinctive voices of musicians, patrons, and owners -- like Teddy Johnson, born in the house that now serves as Teddy's Juke Joint. Along the way, Cook ruminates on the cultural importance of the people and places he encounters, and shows their critical role in keeping Louisiana's unique music alive. A map, a journal, a snapshot of what goes on in the little shacks off main roads, Louisiana Saturday Night provides an indispensable and entertaining companion for those in pursuit of Louisiana's quirky and varied nightlife.

"An invaluable addition to the library of all who in any way are involved in court services or courthouse design and construction. It will be a definitive reference on current and future bridging between judicial administration and space management of court facilities."-- Leonard S. Parker, chairman, The Leonard Parker Associates, Architects, Inc., Minneapolis

"A book that every court administrator in the country should read and study. Dr. Wong has pulled together the adage that 'form follows function' in a work that will affect the design of every courthouse."-- J. William Lockhart, courts administrator, Sixth Judicial Circuit, State of Florida

This important work integrates, for the first time, information from the fields of judicial administration and architecture, offering professionals in both areas significant benefits in the planning, programming, and design of courthouses that are responsive to the changing needs of the U.S. judicial system. The culmination of the lifework of F. Michael Wong, one of the nation's preeminent authorities on judicial facility projects, the book provides invaluable information for the collaboration of judges and judicial staff with architects, engineers, and planners.

The author examines the slow changes in the judicial system and in the design of courthouses in the United States prior to the 1970s and the rapid changes in the areas of courthouse security, technologies, and environmental systems over the past three decades. He suggests more efficient and cost-effective strategies that call for collaborative efforts between the judiciary and the legislative and executive branches of government in the implementation of projects. In addition, he integrates aspects of judicial administration such as case processing, jury records, and personnel and budget management with space management philosophies and concepts.

"Judicial Administration and Space Management" will serve as an indispensable resource and reference for all architectural and law libraries, for architectural and planning offices, and for administrative offices of the judicial system at federal, state, and local levels.

Contributors: William G. Bohn, Ernest L. Friesen, Robert C. Harrall, Harry O. Lawson, Benjamin S. Mackoff, Larry P. Polansky, Ernest H. Short, Robert W. Tobin, Phillip B. Winberry, and F. Michael Wong

F. Michael Wong, president and CEO of Space Management Consultants, Inc., and president of the F. Michael Wong Foundation, is a Fellow of the American Institute of Architects (FAIA). He has programmed, planned, and designed judicial facility projects throughout the United States, including the Minnesota Judicial Building, the Alabama Judicial Building, and the Pinellas County Criminal Courts Complex. He was instrumental in publication of "The American Courthouse" and "Space Management and the Courts--Design Handbook" and was the principal consultant for the 1991 revision of the "U.S. Courts Design Guide." In May 2000, he received the AIA Collaborative Achievement Honors Award and, in June, the AIA California Council's Research and Technology Honors Award.

More than thirty years ago Tadao Ando started to establish himself as one of the best designers on the international scene for the rigor and character of his works, and ever since his intense activity has moved tirelessly between private residences and public buildings. Each of Ando's museums has added a small piece to the construction of a cohesive path based on a strong and clear use of geometry, the employment of few materials in the right proportions, the harmony of the spaces, and a relationship with the landscape. From this point of view, his series of museums communicates the Japanese master's design philosophy perfectly. This book has been put together with the architect, who, through an important and exclusive series of study sketches, images, and models, tells us of his works and his way of seeing and conceiving architecture including the construction of the museum. From the early buildings accomplished in Naoshima, Osaka and Oyamazaki, through the Pulitzer Center in Chicago, the Museum of Modern Art in Fort Worth, and the restructuring of Palazzo Grassi in Venice, readers will be guided into the reserved and rigorous world of Tadao Ando, gaining a sense of the "secret" of his project work.

Hailed by some as the Eighth Wonder of the World when it opened in 1883, the Brooklyn Bridge is one of the world's most recognizable and beloved icons. For over one hundred years it has excited and fascinated with stories of ingenuity and heroism and it has been endorsed as a flawless symbol of municipal improvement and a prime emblem of American technological progress. Despite its impressive physical presence, however, Brooklyn's grand old bridge is much more than a testament of engineering and architectural achievement. As Richard Haw shows in this first-of-its-kind cultural history, the Brooklyn Bridge owes as much to the imagination of the public as it does to the historical events and technical prowess that were integral to its construction. Bringing together more than sixty images of the bridge that, over the years, have graced postcards, magazine covers and book jackets and appeared in advertisements, cartoons, films and photographs, Haw traces the diverse and sometimes jarring ways in which this majestic structure has been received, adopted and interpreted as an American idea. Haw's account is not a history of how the bridge was made, but rather of what people have made of the Brooklyn Bridge--in film, music, literature, art and politics--from its opening ceremonies to the blackout of 2003. Classic accounts from such writers and artists as H. G. Wells, Charles Reznikoff, Hart Crane, Lewis Mumford, Joseph Pennell, Walker Evans and Georgia O'Keeffe, among many others, present the bridge as a deserted, purely aestheticized romantic ideal, while others, including Henry James, Joseph Stella, Yun Gee, Ernest Poole, Alfred Kazin, Paul Auster and Don DeLillo, offer a counter-narrativeas they question not only the role of the bridge in American society, but its function as a profoundly public, communal place. Also included are never-before-published photographs by William Gedney and a discussion of Alexis Rockman's provocative new mural "Manifest Destiny. Drawing on hundreds of cultural artifacts, from the poignant, to the intellectual, to the downright quirky, "The Brooklyn Bridge sheds new light on topics such as ethnic and foreign responses to America, nationalism, memory, parade culture, commemoration, popular culture, and post-9/11 America icons. In the end, we realize that this impressive span is as culturally remarkable today as it was technologically and physically astounding in the nineteenth century.

Frank Lloyd Wright's Larkin Building has become an icon of modern architecture. And the fact that it was demolished only forty-six years after its 1904 completion makes Jack Quinan's study of the building - which housed a Buffalo, New York, soap company - all the more valuable. Quinan's history draws on engineering documents, personal accounts of the building, and other papers he acquired from the family of Darwin D. Martin, a Larkin executive who proposed commissioning Wright to design the company's offices. With access to these rare sources, Quinan reveals how a young Wright landed the commission and traces the evolution of his cutting-edge plans. Quinan then takes Wright studies to a new level, examining the Larkin Building as a structure at the center of economic and personal relationships. Illustrated with over one hundred photographs, floor plans, maps, and diagrams, "Frank Lloyd Wright's Larkin Building" provides a concise but complete record of how the building was conceived, built, evaluated, and finally demolished in what has been called a tragic loss for American architecture.

Text in English & German. With the Kollegiengebaude II (college building II) of the University of Freiburg dedicated in 1961 the architect Otto Ernst Schweizer had achieved a masterpiece. Being built in the modern design idiom, it nevertheless took Freiburg's tradition into account and gave a new quality of life to the university and the urban development of the inner city quarters. On the whole it was a significant stimulus to university construction. Thanks to the neutral expression of the building, its compact overall for m and its "elastic structural system" (there is maximum flexibility in room layout without touching the bearing skeleton), and together with the laconically simple floor plan it became a prototype solution for smooth functioning. It is an open architecture, free of any suffocating pathos, with wide open spaces, human scale in size and proportions and in ideal accordance with academic freedom for research, instruction and learning. Schweizer, born in 1890 and deceased in 1965, professor of urban construction at the Technical University of Karlsruhe is one of the ground-breaking architects of the 20th century. In the late 1920s he gained international renognition and relevance with his buildings in Nuremburg, among them the stadium grounds and the Milchhof, as well as the Prater-Stadion in Vienna. During the 1930s, when he was not allowed to build, he studied fundamental questions of architecture and urbanism. After the Second World War he used his insights to make recommendations for the reconstruction of destroyed cities like Giessen, Karlsruhe, Mannheim or Stuttgart. In his last project, the Kollegiengebaude II we find the quintessence of a rich creative life, convincingly demonstrating Schweizer's high demands on architectural form and function. Immo Boyken is professor emeritus of building history and theory of architecture in Konstanz. His special interest is the architecture of the late 19th and the 20th century. He was a principal contributor to the monograph on Egon Eiermann, author ed the monograph on Otto Ernst Schweizer and lately wrote about Heinz Tesar's church in the Donau City in Vienna (Opus 42), the chancellery of the German embassy in Washington by Egon Eiermann (Opus 54), the Milchhof in Nuremburg by Otto Ernst Schweizer (Opus 59), the Prater-Stadion in Vienna (Opus 75) also by Schweizer, and the German Pavilions at the World Exhibition 1958 in Brussels by Sep Ruf and Egon Eiermann (Opus 62).

Kew's Grade 1 listed Temperate House is the world's largest surviving Victorian glasshouse and the reopening in May 2018 will mark its 155th anniversary. The Temperate House has been closed for the past five years for a major restoration project, which has involved repairs to the entire framework and ventilation system, brickwork and statuary, as well as an overhaul of the planting and the inclusion of some of the world's rarest plants. It is home to Kew's temperate zone plants, containing specimens from South Africa, Central and South America, Asia, Australia, New Zealand and oceanic islands. Many of its best known species, such as its tree ferns, have been in Kew's collection since the glasshouse first opened, or even longer. This book is a souvenir of the history of the Temperate House, and details the changes that have occurred in its 155 years, all accompanied with fascinating archival photographs and botanical illustrations. Central to the book is a pull out double page section detailing the new planting and layout of the House.