Pierre-Emile Legrain (1889-1929) was a French bookbinder, framer, landscape designer, furniture designer, and interior architect. This is the first full-length monograph about him, exploring his life and his creations in every genre, and highlighting the formal links between his work as an ensemblier, bookbinder, and draftsman. Pierre Legrain is credited with revolutionising bookbinding in the early 20th century. In 1916 he was commissioned by the French bibliophile, couturier, and collector Jacques Doucet to design bindings for his extensive library. He created nearly 400 unique bindings for him, and numerous frames for Doucet's exceptional modern art collection - including a steel frame for Les Demoiselles d'Avignon - as well as a series of African-inspired furniture. He was a member of the UAM, whose logo he designed, and he associated with Andre Breton, Paul Eluard, Jean Cocteau, the sculptors Gustave Miklos and Henri Laurens, the painter Francis Picabia, and the milliner Jeanne Tachard for whom he designed a garden. His rare body of work - a hundred or so pieces of furniture and a few interiors - is dispersed today in museums and private collections throughout the world. Text in French.

John Dixon Hunt introduces PWP Landscape Architecture: Building Ideas with a discussion of how we read landscapes and, hence, how they are designed with the reader/client in mind and the historical implications of such efforts. Peter Walker, Gary Hilderbrand, and Gina Crandell trace the history of Peter Walker's various firms from the 1950s until 2000, and Jane Gillette discusses some recent projects in terms of using consultants to further design ideas. Twelve finished projects, seven works in progress, and three competitions, from roughly 2000 to 2015, demonstrate the firm's goals and achievements with an emphasis on the expansion of landscape architecture from the surrounds of buildings to self-sufficient entities that express the highest accomplishments of both ecological function and design.

One of the main concerns of Brussels-based architecture firm A.2R.C is the continuing urbanisation of the city of Brussels. Critical of attempts over the years to 'modernise' Brussels, A.2R.C's aim is to pursue the reintegration of the city by offering full architectural services for the transformation, restoration and readaptation of notable buildings. A.2R.C's expertise extends to new construction, particularly large-scale, mixed-use urban ensembles, and it also has a reputation as one of Europe's most experienced firms in newly built and renovated theatre buildings. This book explores the work of a firm dedicated to the future of one of Europe's most historic and beautiful cities.

In 1927, while a student of architecture at the Moscow Vhutemas, Georgii Krutikov presented a vision for a flying city. More than just a flight of architectural fancy, Krutikov's flying city was a utopian dream, a plan to solve the seemingly intractable problems of overcrowding and resource depletion by moving humanity's living quarters to space. Inspired in equal parts by sci-fi dreams of space travel and the revolutionary idealism that still percolated in the Soviet Union at that time, Krutikov created an incredible amount of detailed information about his city: sketches, drawings, plans, and more. Krutikov's flying city has been cited as a major influence on Russian modernism for decades, yet little has been written about the design, its creator, or his subsequent architectural career. This beautifully illustrated book fills that gap, presenting a detailed study of Krutikov's scheme and its underlying ethos, then tracing Krutikov's later work as an architect. It will interest-and amaze-all fans of the avant-garde, architecture, and Russian history.

2019 Independent Publishers Book Awards (IPPY) Bronze Medal Award winner! 2018 Robert & Judi Newman Award for Literature & Journalism! For centuries, men and women have sought to express beauty in architecture and art. But, it is only recently that neuroscience has helped determine how and why beauty plays such an important role in our lives. Founded on a series of lectures architect Donald H. Ruggles has given over the past ten years, Beauty, Neuroscience and Architecture: Timeless Patterns and Their Impact on Our Well-Being postulates that beauty can and does make a vital difference in our lives, including improving many aspects of our health. In this volume, Ruggles suggests that a new, urgent effort is needed to refocus the direction of architecture and art to include the quality of beauty as a fundamental, overarching theme in two of humanity's most important fields of endeavor - the built and artistic environments. ""Since the beginning of time,"" Ruggles notes, people have ""looked for certain patterns and a balance of space. . . . There is a deep-seated need for beauty and when that need is filled, a sense of safety and comfort is created."" In Beauty, Neuroscience and Architecture Ruggles draws on more than fifty years of architectural experience to delve into the forces behind the transformative emotion of beauty. Focusing on new discoveries in the science of the mind and neuroscience, as well as recent developments in fractal geometry theory, microbiology, and psychology, Ruggles leads the reader on a journey through architectural and art history to discover the importance of patterns in our perception of beauty - and its emotional content.

Observation and representation is a foundational subject in Landscape Architecture. Landscape design is a process shaped by the connections and interactions among designers, users, and the real world. This issue aims to explore the ways that help landscape architects: 1) see the scientism of design disciplines and explore the methodological principles of design generation; 2) translate and convey design ideas and emotional inspiration to the users with rich design vocabulary (in size, shape, material, proportion, composition, etc.) through multiple perceptual approaches; 3) read sites from economic, ecological, cultural, and other perspectives to present more convincing and appealing landscape narratives with the aid of emerging technological means; 4) understand various needs of all parties and stakeholders, coordinating interests and benefits and improving the utilisation of public resources through landscape design; and 5) create educational places for improving the public's rational and aesthetic norms.

With gracious residential boulevards, soaring cathedrals, and some of this country's first skyscrapers nestled amid bustling city blocks, St. Louis is home to buildings city blocks, St. Louis is home to buildings designed by some of America's best-known architects, including Cass Gilbert and Louis Sullivan. But no single architectural firm has shaped the style of the city known as the Gateway to the West more than Maritz & Young. Starting at the beginning of the twentieth century, Raymond E. Maritz and W. Ridgely Young built more than a hundred homes in the most affluent neighborhoods of St. Louis County, counting among their clientele a who's who of the city's most prominent citizens. The Architecture of Maritz & Young is the most complete collection of their work, featuring more than two hundred photographs, architectural drawings, and original floor plans of homes built in a variety of styles, from Spanish Eclectic to Tudor Revival. Alongside these historic images, Kevin Amsler and L. John Schott have provided descriptions of each residence detailing the original owners. Lovingly compiled from a multitude of historical sources and rare books, this is the definitive history of the domestic architecture that still defines St. Louis.

"Zaha Hadid: Heydar Aliyev Centre is devoted to the new cultural center designed by Zaha Hadid in the Azerbaijani capital of Baku. As one of the most important cultural centers in the country, the building houses a variety of institutions under one roof. With the design, the renowned architect won the architecture competition in 2007. Inside its surface of fiberglass-reinforced concrete the building contains an auditorium that seats over a thousand, a conference center, a museum, and a library. Its open, inviting, and curvilinear design, which pics up and expands on forms from the surrounding environment, strongly differentiates the building from the city's monumental architecture of the Soviet era.
Photographs by Helene Binet and Iwan Baan display the building in all of its facets, making it possible for the reader to experience its formal, haptic, and spatial qualities. Essays explain conceptual and technical aspects of this impressive piece of architecture. "

Bruno Reichlin ranks among the world's most distinguished architectural theorists. His occupation with protagonists of 20th-century architecture - such as Eileen Gray, Ludwig Mies van der Rohe, Philip Johnson and, above all, Le Corbusier - and their work is guided by a method that looks at the characteristics of a building as well as at its theoretical foundations. Reichlin's writings and his own built work as a practicing architect is marked by a deep understanding for how buildings materialise signs and symbols and by a referential framework that includes also literature, film and visual art. This book collects Reichlin's 13 essays on Le Corbusier, written over the period of four decades. Taking as examples the villas La Roche, Mandrot, and Savoye; Harvard University's Carpenter Center for Visual Arts; the Petite Maison on Lake Geneva; and the project for a hospital in Venice, he explores aspects of Le Corbusier's creativity to reveal underlying principles and their manifestation in the realised buildings. Rich archival materials as well as analytical plans and diagrams round out the volume. Text in French.

Jean Prouve's Ferembal House was built in Nancy, France, in 1948, as the office for a can factory. Composed of five axial frames clad with wooden panels, set on a tall masonry base and occupying less than 600 square feet in a single raised story, this prefabricated structure was a classic example of Prouve's advocacy of mobile architecture. Thirty years later, however, the company went out of business and the factory was demolished. Fortunately a Nancy resident had the wherewithal to dismantle and preserve Prouve's innovative building, putting it into storage. In 1991, the well-known Parisian design gallerist Patrick Seguin traveled to Nancy to locate the Ferembal House. Seguin spent the next ten years raising the funds to renovate it, working in tandem with Prouve experts, and in 2007 invited his longstanding friend, the architect Jean Nouvel, to undertake a creative adaptation of the House. Drawing on contemporary technical resources, Nouvel brilliantly extended and systematized its fundamental modularity with stackable Ductal blocks and a floor of removable slabs. The results were exhibited in the Tuileries Gardens in Paris, in 2010. This comprehensive account of Prouve's posthumous collaboration with Nouvel recounts the tale of the Ferembal House with archival photographs and plans of the original structure and a detailed account of Nouvel's inspired interventions.

At various intervals between 1931 and 1945, Georgia O'Keeffe (18871986) completed seventeen drawings and paintings of katsina tithu ("kachina dolls"), the painted-wood representations of spirit beings carved by Native American artist -- especially Hopi and Zuni -- that have long played an important role in Pueblo and Hopi ceremonialism. O'Keeffe never explained how or why she became interested in these Native American carvings. Because she gave generic titles to her paintings of them except those works depicting Kokopelli, she may not have been aware of their specific names, meaning, or functions. But the artist always took inspiration from her immediate environment, whether working abstractly or representationally, often seeking subjects that conveyed her feelings for or experiences of specific places; her depictions of Native American spirit beings were no exception. As she later pointed out, "My pictures are my statement of a personal experience". The book, which accompanies a touring exhibition of fifty-three works by the artist, features fifteen drawings and paintings of katsina subjects made between 1931 and 1941 and thirty-eight additional works made between 1929 and 1953 that resulted from her deep exploration of the distinctive architecture and cultural objects of Northern New Mexico's Hispanic and Native American communities. Also included are numerous landscape paintings, a subject O'Keeffe addressed most consistently during her career. The book also features contributions by noted art historian W. Jackson Rushing III, Hopi weaver Ramona Sakiestewa, Hopi artist Dan Namingha, and Hopi tribal leader and author Alph H Secakuku. Rushing discusses O'Keeffe and other modernist painters, including Emil Bistram, Fred Kabotie, and Gustave Baumann, in their approach to Native subjects; Sakiestewa writes about O'Keeffe's katsina paintings and the influence the artist had on her own designs; Secakuku explicates katsinam ceremonalism; and Namingha is interviewed about katsina imagery in his work.

Discover the completely unique aesthetic of Tadao Ando, the only architect ever to have won the discipline's four most prestigious prizes: the Pritzker, Carlsberg, Praemium Imperiale, and Kyoto Prize. Philippe Starck defines him as a "mystic in a country which is no longer mystic." Philip Drew calls his buildings "land art" as they "struggle to emerge from the earth." His designs have been described as haiku crafted from concrete, water, light, and space. But to Ando, true architecture is not expressed in metaphysics or beauty, but rather through space that embodies physical wisdom. This thoroughly updated edition spans the breadth of his entire career, including such stunning new projects as the Shanghai Poly Theater and the Clark Center at the Clark Art Institute in Williamstown, Massachusetts. Each project is profiled through photographs and architectural drawings to explore Ando's unprecedented use of concrete, wood, water, light, space, and natural forms. Based on the massive XXL monograph, this edition brings the architect's definitive career overview to an accessible format.

"Monograph.it" is at the same time monography and review, it follows an original criterium of pictures' itinerary. In fact "monograph.it" devotes to architecture's study of several pages with complete contents. Moreover there will be a gallery of pictures of places, buildings, landscapes together with a monographic section for one or more cities in evolution; therefore conceiving present urban places and landscapes as necessary and permanent elements of the project. The choice of such contents is aimed at surveying the different developments of the project production in the range of the different scales. The genovese architetcure office 5+1AA is the protagonist of the first issue of the "monograph.it" with the exhaustive atlas of drawings and architectural stills, and furthermore the European 16 creative city', and finally the photo gallery dedicated to the stills of the Nunzio Battaglia italian photographer.

What "really constitutes an architectural atmosphere," Peter Zumthor says, is "this singular density and mood, this feeling of presence, well-being, harmony, beauty ... under whose spell I experience what I otherwise would not experience in precisely this way." Zumthor’s passion is the creation of buildings that produce this kind of effect, but how can one actually set out to achieve it? In nine short, illustrated chapters framed as a process of self-observation, Peter Zumthor describes what he has on his mind as he sets about creating the atmosphere of his houses. Images of spaces and buildings that affect him are every bit as important as particular pieces of music or books that inspire him. From the composition and "presence" of the materials to the handling of proportions and the effect of light, this poetics of architecture enables the reader to recapitulate what really matters in the process of house design.

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

Two architects, Jeanne Della Casa and Sylvie Pfaehler, together with their new partners Michael Perret and Lucile Fonta-Rak, are working on a remarkable oeuvre in Lausanne. In the midst of an urban garden and an ensemble of housing, three timber residential developments have their own poetic radiance. The architects' award-winning works include clear tectonically structured residential buildings in Lausanne and the Lavaux region. Text in English and German. Text in English and German.

A brilliantly conceived biography of Joseph Paxton, horticulturist to the Duke & Duchess of Devonshire at Chatsworth, architect of the Crystal Palace at the Great Exhibition of 1851 and one of the greatest unsung heroes of the Victorian Age In the nineteenth century, which witnessed a revolution in horticulture and urban planning and architecture, Joseph Paxton, a man with no formal education, strode like a colossus. Head gardener at Chatsworth by the age of twenty-three, and encouraged by the sixth Duke of Devonshire whose patronage soon flourished into the defining friendship of his life, Paxton set about transforming this Derbyshire estate into the greatest garden in England. Visitors there were astonished by the enormous glasshouses and ambitious waterworks he built, the collection of orchids, the largest in all England, the dwarf bananas and the gargantuan lily, the trees and plants brought back from all over the world. Queen Victoria came to marvel and, increasingly, with the development of the railway in which Paxton was also involved, daytrippers from all over the country. It was the Crystal Palace, home of the Great Exhibition in 1851, that secured Paxton's fame. His design, initially doodled on a piece of blotting paper, was the architectural triumph of its time. Two thousand men worked for eight months to complete it. It was six times the size of St Paul's Cathedral, enclosed a space of 18 acres, and entertained six million visitors. By the time of his death fourteen years later, 'the busiest man in England' according to Dickens, was friends with Brunel and Stevenson and in constant demand to design public parks and gardens. His last, seemingly most eccentric project was for a Great Boulevard under glass, a crystal arcade that would connect all the main railway termini in London. Drawing on exclusive access to Paxton's personal letters, Kate Colquhouns's remarkable biography is a compelling story of a man who typifies the Victorian ideal of self-improvement and a touching portrait of one of that era's great heroes.

In post-Depression America, Greyhound put adventure within the reach of all. Convinced that their terminals should project the glamour and excitement of travel, the company turned to an architect who could translate the sleek, streamlined Greyhound design into buildings that would both serve and delight the public. This volume explores the life of William Strudwick Arrasmith, a defining artist of the short-lived era of streamline design, and especially his work for Greyhound--at least fifty terminals and other facilities. The final third of the book is a detailed examination of 28 of these terminals. A full chronology of Arrasmith's firms and commissions is also included.

Fiona Barratt-Campbell established FBC Interiors in 2006 and is increasingly recognized as one of Britain s leading figures in the international world of interior design. Barratt-Campbell, with over sixteen years experience in the industry, draws on the history of the rugged landscape of Northumberland, where she grew up, and her designs are shaped and influenced by the area s underlying geology. Barratt-Campbell s silhouettes are bold and geometric and her finishes are intricate, with materials ranging from solid cast bronze and sandblasted wood to Brazilian fish skin. Her signature style combines sophisticated neutrals interlaced with bursts of accent color, and although this more modern theme remains core to her interiors, she experiments with antiques, particularly twentieth-century pieces. In her first-ever book, Barratt-Campbell offers a wealth of experience and advice on achieving your signature style via in-depth looks at the homes profiled here, making this a definitive master class in home design. This book is a must-have for any decorator wanting to give their home a touch of Barratt-Campbell s distinctive style: the perfect blend of luxury and functionality. She reveals her trade secrets and shares her expert knowledge to ensure that your decorating project, however big or small in scale, achieves the look and finish you want.

Six remarkable churches built by Nicholas Hawksmoor from 1712 to 1731 still stand in London. In this book, architectural historian Pierre de la Ruffiniere du Prey examines these designs as a coherent whole--a single masterpiece reflecting both Hawksmoor's design principles and his desire to reconnect, architecturally, with the "purest days of Christianity."

The projects featured in Close to Home are within a 15-mile radius of where Louisville architect Michael Koch was born, raised, and has practiced for almost forty years. Educated at the University of Kentucky School of Architecture during the Dean Anthony Eardley era, where he was taught by Guillermo Julian de la Fuente, Peter Carl, Stephen Deger, Judith DeMaio, Clyde Carpenter, and Herb Greene, Koch has created a body of work in the Ohio River Valley that is site-specific and expressive, translating Kentucky's regional idioms into a vibrant modernism. From airy houses that take advantage of Louisville's Olmstead-designed parks and local materials, to structures that are strikingly adapted to the Ohio River floodplain, to church-inspired metropolitan projects, Koch's buildings are a memorable part of the city's landscape. Close to Home presents the award-winning achievements of his firm Michael Koch and Associates Architects, and introduces readers to the simple elegance of his designs and meaningful contributions he has made to the architecture of Kentucky.

New edition of Buckminster Fuller's first work published in 1938, which was promoted by Albert Einstein. In 43 chapters the constructor, visionary, inventor, designer, creator of language, and spectacular performer rolls out the art of independent thought. Fuller lays out an enormous horizon and Nine Chains to the Moon is equivalent to a navigation across the world we live in: "What Is a House?", "Death and Life", "Longing Crosses the Sea", "Dollarability", "We Call it Earth", "Stomach Rhythms", "Ephemeralization"-from the microscopic to the automobile, to the house, to urbanity, to the image of the cosmos in constant movement. The title, said Fuller, is meant to stimulate open thinking: the 1938 world population, one person on the shoulders of another, will reach from the earth to the moon nine times!

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).

Faces of Power and Piety is the second in the Medieval Imagination series of small, affordable books that draw on manuscript illuminations in the collections of the J. Paul Getty Museum and the British Library. Each volume focuses on a particular theme to provide an accessible and delightful introduction to the imagination of the medieval world. The vivid and charming faces featured in this volume include portraits of both illustrious historical figures and celebrated contemporaries. They reveal that medieval artists often disregarded physical appearance in favor of emphasizing qualities such as power and piety, capturing how their subjects wished to be remembered for the ages. Faces of Power and Piety also looks at the development of portraiture in the modern sense during the Renaissance, when likeness became an important component of portrait painting. An exhibition of the same name will be on view at the J. Paul Getty Museum from August 12 through October 26, 2008.