Das Terrassenhaus entspricht als Bautyp modernen Wohnbau-Anforderungen: es ist oekonomisch und bietet bei geringem Bodenverbrauch hohen Wohnkomfort mit Terrasse und Garten. Popular geworden mit den sozialen Bewegungen in den 1960er-Jahren, geriet es mit der fortschreitenden Erosion der Idee von Gesellschaft wieder in Vergessenheit und wurde gar als Bausunde abqualifiziert. Doch die anhaltende Bewohnerzufriedenheit und die oekologischen Vorteile eines begrunten Hauses machen das Terrassenhaus mehr denn je attraktiv. Die im Buch untersuchten Bauten sind heute nicht nur architektonische Ikonen; man kann auch von ihnen immer noch lernen, was der Wohnungsbau heute braucht. Ein Vertreter dieses Bautyps war Harry Gluck, dessen Pladoyer fur die grune Stadt hier in Teilen abgedruckt wird.

The Frauen- und Carolinenbad bathing facility was opened in Baden near Vienna in 1821. Two hundred years after this event, which was significant from the perspective of both culture and economic and architectural history, this book documents the history of the planning and construction of the building, which has been dedicated to the painter Arnulf Rainer since 2009. The Frauenbad is one of the most important Classical buildings in Austria. Its designer, the Frenchman Charles de Moreau (1758-1840), was one of the leading architects of this epoch in Austria. The book communicates the results of new research on the architecture of this key European period between the Enlightenment, revolution, and reaction.

B.C. Binning taught that architecture has an intrinsic link to art and life. This book follows in his footsteps, focusing on what is arguably his greatest creation: the first significant piece of modern residential architecture in Western Canada, the BC Binning House. Still standing in West Vancouver as a National Historic Site, the house has influenced generations of architects and continues to do so today. The structure is often thought to have sparked Canada's West Coast Modernism movement, as it represents both the arrival of Modernist design principles and their inflection with local interests and conditions.

Broken down in the Sahara Desert, a pilot meets an extraordinary Little Prince, travelling across time and space to bring peace to his warring planet. Inua Ellams' magical retelling of the much loved story by Antoine de Saint-Exupery turns the Little Prince into a descendant of an African race in a parallel galaxy. His journey as a galactic emigrant takes us through solar systems of odd planets with strange beings, addresses climate change and morality, and shows how even a little thing can make a big difference.

This pioneering work traces the emergence of the modern and contemporary art of Muslim South Asia in relation to transnational modernism and in light of the region's intellectual, cultural, and political developments. Art historian Iftikhar Dadi here explores the art and writings of major artists, men and women, ranging from the late colonial period to the era of independence and beyond. He looks at the stunningly diverse artistic production of key artists associated with Pakistan, including Abdur Rahman Chughtai, Zainul Abedin, Shakir Ali, Zubeida Agha, Sadequain, Rasheed Araeen, and Naiza Khan. Dadi shows how, beginning in the 1920s, these artists addressed the challenges of modernity by translating historical and contemporary intellectual conceptions into their work, reworking traditional approaches to the classical Islamic arts, and engaging the modernist approach towards subjective individuality in artistic expression. In the process, they dramatically reconfigured the visual arts of the region. By the 1930s, these artists had embarked on a sustained engagement with international modernism in a context of dizzying social and political change that included decolonization, the rise of mass media, and developments following the national independence of India and Pakistan in 1947. Bringing new insights to such concepts as nationalism, modernism, cosmopolitanism, and tradition, Dadi underscores the powerful impact of transnationalism during this period and highlights the artists' growing embrace of modernist and contemporary artistic practice in order to address the challenges of the present era.

In Surrealism at Play Susan Laxton writes a new history of surrealism in which she traces the centrality of play to the movement and its ongoing legacy. For surrealist artists, play took a consistent role in their aesthetic as they worked in, with, and against a post-World War I world increasingly dominated by technology and functionalism. Whether through exquisite-corpse drawings, Man Ray's rayographs, or Joan Miro's visual puns, surrealists became adept at developing techniques and processes designed to guarantee aleatory outcomes. In embracing chance as the means to produce unforeseeable ends, they shifted emphasis from final product to process, challenging the disciplinary structures of industrial modernism. As Laxton demonstrates, play became a primary method through which surrealism refashioned artistic practice, everyday experience, and the nature of subjectivity.