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.

Studienarbeit aus dem Jahr 2009 im Fachbereich Medien / Kommunikation - Multimedia, Internet, neue Technologien, Note: 2,0, Fachhochschule Koln, Sprache: Deutsch, Abstract: Das Internet hat sich zu einem etablierten Medium entwickelt, das auch pri-vat einen immer grosseren Stellenwert erreicht. Mittlerweile nutzen weltweit rund 1,5 Milliarden Menschen das Internet (o.Verf. 2008b)]. Neben dem Bezug von Informationen ermoglichen Chats, Newsgroups oder Soziale Netzwerke die computervermittelte Kommunikation von Personen untereinander. Das Internet eroffnet neue Moglichkeiten zur Identitatsbildung, die ich im Rahmen dieser Arbeit erlautern werde. Im Netz sind virtuelle Identitaten weit verbreitet, denn hier stehen die Anonymitat sowie die Textbasiertheit des Mediums im Vordergrund und die Preisgabe von personlichen Daten ist jedem selbst uberlassen. Da der Begriff der Identitat in vielen Disziplinen der Wissenschaft eine wi-derspruchliche Verwendung findet, werde ich in dieser Hausarbeit nur auf die sozialen sowie psycho-sozialen Identitatskonzepte eingehen und die Entstehung von Identitat im virtuellen Raum erlautern. Es ist zu klaren, ob und in wie weit virtuelle Identitaten Auswirkungen auf reale Beziehungen haben und welche Chancen und Risiken sich dahinter verbergen. Wirkt die virtuelle Identitat auf die reale zuruck? Wenn ja, mit welchen Konsequenzen? Werden reale Beziehungen durch virtuelle Freundschaften ersetzt? Es ist notig, den Begriff der Identitat zunachst zu erlautern und zu definie-ren, bevor Antworten auf die gestellten Fragen gefunden werden konnen. Des Weiteren ist zu klaren, was die User dazu bewegt eine Scheinidentitat anzunehmen und in welchem Zusammenhang von einem Flow-Effekt ge-sprochen werden kann. Besteht die Gefahr von Online-Abhangigkeit und halten virtuelle Romanzen dem Wechsel ins reale Leben stand

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.

2009 marks the centennial of the influential Plan of Chicago. Designed by Daniel H. Burnham, coauthored by Edward Bennett and produced in collaboration with the Commercial Club of Chicago, the forward-thinking plan proposed many of the city's most distinctive features, including its lakefront parks and roadways, the Magnificent Mile, and Navy Pier. As a result, by the time he died in 1912, Burnham was one of the most famous architects in America as well as an internationally renowned city planner. Thomas S. Hines's book is at once both a biography of Burnham and a vivid portrait of the birth and growth of an American city. In commemoration of the historic anniversary of Burnham's Plan, this edition of "Burnham of Chicago" includes a new introduction by American history scholar, Neil Harris.
"Indeed, the book as a whole is a model of the balanced portrait, sure of Burnham's importance but always conscious of his failings."--Paul Goldberger, "New York"" Times Book Review"""
"In every sense this is the definitive biography."--Harry Weese, "Chicago"" Tribune""" "Professor Hines has written what may prove to be an epoch-making book in the study of American civilization."--Reyner Banham, "Times Literary Supplement"

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.

In the early years of the twentieth century, Spokane was singled out for praise in the West for the quality of its architecture and the impressive way it had rebuilt after the devastating fire of 1889. Major credit for the city's distinctive character was extended to Kirtland Kelsey Cutter for his "rare architectural force and genius for design." His remarkable career, stretching from the Gilded Age to the Great Depression, allows a fascinating study of the evolution of an eclectic form of architecture that was an inevitable response to rich regional and historical influences during a time of transition from frontier settlements to modern city. Cutter's influence was felt beyond Spokane--in Seattle, other areas of Washington, and in Oregon, Idaho, and Montana. He was also responsible for buildings in the East and even for one in England. After financial problems ended his career in the Northwest, he began anew at age sixty-three in southern California, and worked there as an architect until his death in 1939 at age seventy-nine. Henry Matthews presents a comprehensive study of the whole body of Cutter's work, with ample photographs and illustrations. The book is based on exhaustive research in both the Northwest and California, revealing the influences on Cutter and his associates, the processes at work in the design and construction of the buildings, and the relations between the architect and the many people who commissioned his work. Particularly useful to Matthews's research was a collection of 290 sets of drawings, as well as office accounts, letters, and books from Cutter's library--materials acquired by the Eastern Washington State Historical Society. He also was able to interview former assistants and clients, who provided valuable insights on the architect and the way Cutter worked. In addition, many of the architect's residences, hotels, clubs, and commercial buildings are still standing. This book adds significantly to an understanding of Western urban and regional history. But Cutter's experimentation in many styles and the imaginative nature of his work make for a study that goes beyond regional limits and sheds light on national trends. Winner of the 1999 Washington State Book Award

Acclaimed photographer, filmmaker, composer, novelist, and memoirist, Gordon Parks has participated in, been witness to, and documented many of the major events in the twentieth and the twenty-first centuries.
In "A Hungry Heart, " Parks reflects on the people and events that shaped him: from growing up poor on the Kansas prairie to crisscrossing the country on the North Coast Limited; documenting poverty and injustice in Chicago to doing fashion spreads for "Vogue;" photographing black revolutionaries to writing, composing the soundtrack for, and directing the Hollywood movie version of his novel "The Learning Tree." More than a self-portrait of the artist, "A Hungry Heart" is a striking account of an American era.

The Essential Ian McHarg brings together a series of short essays that reveal the full range of Ian McHarg's thoughts on design and nature. Adapted from the comprehensive book of his work, To Heal the Earth, these carefully selected essays provide an ideal reader for undergraduate and graduate students in planning and landscape architecture.

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.

Text in English and German. In the summer 1978, the cover of the magazine Bauwelt showed a photograph of an unusual building. It was tersely introduced to readers as a 'private house with office in Bad Nauheim', but it was immediately obvious that this was a built manifesto. What appeared was a strictly symmetrically articulated, steeply rising facade, emanating dignity and composure. It also seemed able to manage without windows, which further enhanced its austere elegance. And then there were the strikingly slender, sharp-angled wall elements, which seemed captivatingly graceful, or even delicate and fragile -- as though folded from paper. The fact is that, long before Gilles Deleuze had cast his spell on a new generation of aesthetically ambitious architects, Johannes Peter Hoelzinger was putting his folding skills into practice as a matter of course.

"Palladio is the Bible," Thomas Jefferson once said. "You should get it and stick to it." With his simple, gracious, perfectly proportioned villas, Andrea Palladio elevated the architecture of the private house into an art form during the late sixteenth century -- and his influence is still evident in the ample porches, columned porticoes, grand ceilings, and front-door pediments of America today.

In The Perfect House, bestselling author Witold Rybczynski, whose previous books 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 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.

On the afternoon of 6 June 1889, a fire in a cabinet shop in downtown Seattle spread to destroy more than thirty downtown blocks covering 116 acres. Disaster soon became opportunity as Seattle's citizens turned their full energies to rebuilding: widening and regrading streets, laying new water pipes and sewer lines, promulgating a new building ordinance requiring construction in the commercial core, and creating a new professional fire department. A remarkable number of buildings, most located in Seattle's present-day Pioneer Square Historic District, were permitted within a few months and constructed within a few years of the Great Seattle Fire. As a result, the post-fire rebuilding of Seattle offers an extraordinarily focused case study of late-nineteenth-century American urban architecture.

Seattle's architects seeking design solutions that would meet the new requirements most often found them in the Romanesque Revival mode of the country's most famous architect, Henry Hobson Richardson. In October 1889, Elmer Fisher, Seattle's most prolific post-fire architect, specifically cited the example of H. H. Richardson in describing the city's new buildings. In contrast to Victorian Gothic, Second Empire, and other mid-nineteenth-century architectural styles, Richardson's Romanesque Revival vocabulary of relatively unadorned stone and brick with round-arched openings conveyed strength and stability without elaborate decorative treatment. For Seattle's fire-conscious architects it offered a clear architectural system that could be applied to a variety of building types - including office blocks, warehouses, and hotels - and ensure a safer, progressive, and more visually coherent metropolitan center.

"Distant Corner" examines the brief but powerful influence of H. H. Richardson on the building of America's cities, and his specific influence on the architects charged with rebuilding the post-fire city of Seattle. Chapters on the pre-fire city and its architecture, the technologies and tools available to designers and builders, and the rise of Richardson and his role in defining a new American architecture provide a context for examining the work of the city's architects. Seattle's leading pre- and post-fire architects - William Boone, Elmer Fisher, John Parkinson, Charles Saunders and Edwin Houghton, Willis Ritchie, Emil DeNeuf, Warren Skillings, and Arthur Chamberlin - are profiled. "Distant Corner" describes the new post-fire commercial core and the emerging network of schools, firehouses, and other public institutions that helped define Seattle's neighborhoods. It closes with the sudden collapse of Seattle's economy in the Panic of 1893 and the ensuing depression that halted the city's building boom, saw the closing of a number of architects' offices, and forever ended the dominance of Romanesque Revival in American architecture.

With more than 200 illustrations, detailed endnotes, and an appendix listing the major works of the city's leading architects, "Distant Corner" offers an analysis of both local and national influences that shaped the architecture of the city in the 1880s and 1890s. It has much to offer those interested in Seattle's early history, the building of the city, and the preservation of its architecture. Because this period of American architecture has received only limited study, it is also of importance for those interested in the influence of Boston-based H. H. Richardson and his contemporaries on American architecture at the end of the nineteenth century.

Jeffrey Karl Ochsner is professor of architecture at the University of Washington; among his previous publications is "H. H. Richardson: Complete Architectural Works." Dennis Alan Andersen, formerly in charge of photographs and architectural drawings in the Special Collections Division of the University of Washington Libraries, is a longtime historic preservation advocate and currently a Lutheran pastor. Both are authors in "Shaping Seattle Architecture: A Historical Guide to the Architects."

"This book makes a significant contribution to the history of American architecture by studying carefully a major American city at a time when architecture and cities in this country were entering the modern era. Moreover, this book is a fine piece of local history that rests on solid scholarship." - Francis R. Kowsky, Buffalo State College

"An important contribution to the field of American architectural history." - Kenneth A. Breisch, University of Southern California

Text in English and German. As in 2001, during the 2002 Cologne International Furniture Fair three internationally known designers squeezed themselves into the town's best known building between buildings. There they presented their ideas on the subject of 'expanding the gap'. From Tokyo came the idea of expanding the exhibition space with an installation to make it snow. Designer Tokujin Yoshioka had 18 kilos of down whirled up by fans at the end of the room to create an everlasting blizzard, and the largest snowball of the year. -- In order to burst through the austere geometry of the exhibition building, projections from lava lamps from the London-based designer Ross Lovegrove covered the greater part of the interior. The coloured, gently moving bubbles created in these lamps by heat caused the sharp contours and hard black and white contrasts of the ceilings and walls to melt and flow. -- Greg Lynn from Los Angeles installed an over-dimensioned, organic sculpture on one of the side walls. It reached out well into the room, and so the visitors were obliged to squeeze past it and search on the other side for space.

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