Widely regarded as one of the most significant prophets of modern architecture, Adolf Loos was a star in his own time. His work was emblematic of the turn-of-the-century generation that was torn between the traditional culture of the nineteenth century and the innovative modernism of the twentieth. His essay 'Ornament and Crime' equated superfluous ornament and 'decorative arts' with underclass tattooing in an attempt to tell modern Europeans that they should know better. But the negation of ornament was supposed to reveal, not negate, good style; and an incorrigible ironist has been taken too literally in denying architecture as a fine art. Without normalizing his edgy radicality, Masheck argues that Loos's masterful "astylistic architecture" was an appreciation of tradition and utility and not, as most architectural historians have argued, a mere repudiation of the florid style of the Vienna Secession. Masheck has reads Loos as a witty, ironic rhetorician who has all too often been taken at face value. Far from being the anti-architect of the modern era, Masheck's Loos is 'an unruly yet integrally canonical artist-architect'. He believed in culture, comfort, intimacy and privacy and advocated the evolution of artful architecture. This is a brilliantly written revisionist reading of a perennially popular architect.

Shivdatt Sharma (b. 1931) is one of the most prolific Indian modernist architects. Starting out as an architect in the Chandigarh Capital Project Team led by Le Corbusier and Pierre Jeanneret, Sharma subsequently became Chief Architect of the Indian Space Research Organisation. He then went into private practice. Sharmas architecture is a distinct blend of the core principles of Modernism, interpreted through the lens of contemporary Indian realities. Modernism was adopted as both symbol and instrument of nation-building in Nehruvian India. Working alongside designers and artists, architects went to work building innumerable small townships, universities, public institutions, housing estates and infrastructural projects across the country. Progressive businesses also patronized Modernism as full participants in the project of nation-building. The Modernism in India Series documents the extensive heritage of Modernism and modern architecture in India. Bringing to light the work of a forgotten generation, this series documents work that is currently under threat by the forces of globalization. This well-illustrated book documents Sharmas work from the early days, when it was a part of the experimental and innovative ethos of Chandigarh, to the present. He has designed for a range of public and private clients across the world. Along with a portfolio of selected works, this book includes critical essays, interviews and a chronology of projects.

UIRA e o projeto arquitetonico para uma Vila Olimpica orbital, a primeira do mundo, criada pelo arquiteto brasileiro Emanuel Dimas de Melo Pimenta. Em 2011 Pimenta lancou o projeto de arquitetura Kairos - para um edificio em orbita da Terra, considerado o primeiro projeto de arquitetura para um edificio no espaco sideral. Ainda em 2011, Emanuel Pimenta criou e dirigiu o primeiro curso de arquitetura espacial do Brasil, e o segundo do mundo, na Faculdade de Arquitetura e Urbanismo da Universidade de Sao Paulo. No inicio dos anos 1980, Emanuel Pimenta cunhou o conceito de arquitetura virtual, e iniciando em 1980 ele projetou o primeiro planeta virtual do mundo - Woiksed - antecipando o Second Life em mais de vinte anos. O livro UIRA contem os primeiros estudos do projeto, cerca de sessenta ilustracoes e uma introducao escrita pelo arquiteto Bruno Padovano, da Universidade de Sao Paulo.

Despite the numerous studies of Frank Lloyd Wright's life and architecture, little has been published about his life in relation to the communities that dominated his life. Wright, a fervent believer in individualism and an ardent advocate of democracy, worked in communities throughout his career of more than six decades. These communities, which he led with unquestioned authority, made possible his extraordinary productivity. They also helped sustain his genius, provided him with crucial social outlets, and made it possible for him to remain a creative force outside the mainstream of American architecture until his death at age 91. Almost immediately after arriving in Chicago in 1887, Wright began working in the company of architects and draftsmen, most notably Joseph Lyman Silsbee, Dankmar Adler, and Louis Sullivan. In 1893 he opened his own practice in downtown Chicago and formed relationships with communities of young architects and draftsmen there. Five years later Wright moved his venture to his home and studio in Oak Park. Although his community of coworkers there was highly productive, in 1909 he abandoned them, his practice, and his family, turned his projects over to others, and left for Europe with his mistress. In the next twenty years he formed incidental communities wherever his work took him, including Europe, Japan, California, and Arizona, while maintaining his base at Taliesin, his home near Spring Green, Wisconsin. In 1932, after years of hardship, Wright and his third wife, Olgivanna, founded the Taliesin Fellowship, a community of apprentices and assistants. Five years later the Fellowship began to spend winters at Taliesin West, a camp he designed in Scottsdale, Arizona. When Wright died in 1959, his widow became the Fellowship's unchallenged leader, and she remained so until her death 26 years later. Marty's groundbreaking work is neither a biography of Wright nor a study of his architecture; rather, it is the story of his life in communities, particularly the Taliesin Fellowship. This study will be of interest to Wright scholars and enthusiasts, architects, architectural historians, and architecture students.

Italo Rota was born in 1953 in Milan and graduated from the Milan Polytechnic Institute in 1982. In 1980, he and Gae Aulenti created the plans for the Musee d'Orsay and the Centre Beaubourg in Paris. In 1990, he initiated the planning for the Center for Postgraduate Studies at Columbia University. His return to Italy marked the beginning of a highly creative phase, including projects that ranged from museum installations, the "Maison Cavalli" (the showroom-cafes in Miami, Milan, and Moscow), to a series of public buildings in Italy and India. This book focuses on a recent decade of Rota's work and is aimed at professionals and lovers of architecture, fashion, and design.

The essence of this exceptional book is McInturff Architects' zeal for home design. McInturff Architects is a dynamic team of professional led by Mark McInturff, based in Bethesda, Maryland. They have been the recipients of numerous awards for outstanding architecture. Their unique work acknowledges that a house is different from any other building, and that a level of emotional investment is necessary if the house is to be regarded as a 'home'. The attention to detail, the infusion of warmth and character and the sheer delight in good design are evident in the projects superbly presented in this new addition to Images' portfolio of residential architecture titles.

Architecture is a challenging profession. The education is rigorous and the licensing process lengthy; the industry is volatile and compensation lags behind other professions. All architects make a huge investment to be able to practice, but additional obstacles are placed in the way of women and people of color. Structural Inequality relates this disparity through the stories of twenty black architects from around the United States and examines the sociological context of architectural practice. Through these experiences, research, and observation, Victoria Kaplan explores the role systemic racism plays in an occupation commonly referred to as the 'white gentlemen's profession.' Given the shifting demographics of the United States, Kaplan demonstrates that it is incumbent on the profession to act now to create a multicultural field of practitioners who mirror the changing client base. Structural Inequality provides the context to inform and facilitate the necessary conversation on increasing diversity in architecture.

Percy Leonard James was one of Victoria, British Columbia's pre-eminent architects through the early decades of the twentieth century. This well-researched biography, written by his daughter, chronicles James' personal and professional life from his early days in England to his becoming one of Victoria's most influential designers. As James' work is often overshadowed by his contemporary architects, Samuel Maclure and Francis Mawson Rattenbury, this book is long overdue and, in some instances, sets the record straight.

This dictionary profiles world-renowned architects, engineers, landscape architects, artists and photographers whose work has given rise to an entirely new dimension in designing the cityscape. It features leading figures from the international scene, including Tadao Andao, Emilio Ambasz, Daniel Buren, Tony Cragg, Walter De Maria, Michael Heizer, Anish Kapoor, Rem Koolhaas, Maya Lin, Richard Long and James Turrel, among many others.
Over the last decade the concept of "landscape" has dramatically changed, Projects that reconstruct large disused areas, the design of public spaces, parks and private gardens, and Land Art all involve landscape design. This field has come to greater prominence with the increase in public projects and by keeping pace with new theoretical approaches and design practices. This volume will be an invaluable reference for any one involved in urban planning, public art, landscape architecture and landscape design.

Known as the 'Big Eye' the Oita Stadium is one of the chosen venues for the next World Cup in 2002. It will be reused for the second stage of the Japan Inter-Prefectural Athletic Competition in 2008 after the World Cup, continuing to grow in the future to become a large-scale all-purpose sports park for Oita. The whole site covers an area of 225 ha and has several facilities outside the main football stadium. These include general fitness, training and lodging centres, a botanical pool, two multipurpose athletic fields, two rugby and soccer practise pitches, a softball field, tennis courts and other game areas. The main stadium features an open track for athletic events as well as the football pitch. It can also be used year-round for public events aided by its retractable roof. For soccer matches, spectator seats are placed right up to the edge of the pitch to bring them close to the action. To change over for track events a retractable seating system was developed. The stadium sits elegantly on its site, enhanced by the gentle curves of its spherical design. The choice of the sphere, Kurokawa says, is 'an expression of abstract symbolism'. This spherical shape also enables the retractable portion to move along its curved surface. The use of Teflon membrane panels with 25 percent light permeability obviates the need for artificial lighting during daylight hours. In order for the pitch to get proper exposure to sunlight the elliptical roof opening runs along the north-south axis. A main arch with perpendicular horizontal sub-members follows the elliptical shape of the roof opening. Between the roof and the spectator seating below the surrounding mountains can be seen from a slender ventilation clearstorey set just below the roof line. This slit of space is designed to create a feeling of openness inside the stadium. Since the original design, an idea emerged for a moving camera to be located on the main beam to deliver special dynamic images for television audiences around the world.

The Wisconsin-born Frank Lloyd Wright (1867-1959) is recognized worldwide as an iconic architectural genius. In 1911 he designed Taliesin to use as his personal residence, architectural studio, and working farm. A century later Randolph C. Henning has assembled a splendid collection of rare vintage postcards, some never before published, that provides a revealing and visually unique journey through Wright's work at Taliesin. Included are intimate images of Taliesin at various stages and views of the building just after the tragic 1914 fire. The postcards also depict nearby buildings designed by Wright, including the Romeo and Juliet windmill and two buildings for the Hillside Home School. Henning provides useful explanations that highlight relevant details and accompany each image. "Frank Lloyd Wright's Taliesin" documents and celebrates Wright's 100-year-old masterpiece.
Finalist, Midwest Book Awards for Cover Design and for Regional Interest Illustrated Book
Best Books for General Audiences, selected by the American Association of School Librarians
Best Books for General Audiences, selected by the Public Library Reviewers

Memory and Modernity focuses on the first project of the renowned nineteenth-century French architect and theorist Eugene-Emmanuel Viollet-le-Duc, the restoration of the Romanesque church of the Madeleine at Vezelay in Burgundy. This is the first book-length study to approach the work of Viollet-le-Duc from the perspective of institutional and social history.

Kevin D. Murphy situates the Vezelay restoration project within the government architectural bureaucracy that emerged in the July Monarchy. Drawing on extensive archival records, he describes the controversy that arose from the restoration process, as changes in the physical form of the church, its permitted uses, and its place in history provoked heated exchanges among the Burgundy region and Paris, the Catholic clergy and government officials.

Examining in detail the architect's transformation of the church of the Madeleine, the book also draws out the implications of the project for understanding Viollet-le-Duc's theoretical development. Murphy shows how Viollet-le-Duc's rationalist interpretation of medieval architecture informed the decisions that were made about the restoration, but also how that way of thinking was influenced by the architect's experience at Vezelay.