A principal of the London-based architecture firm Caruso St. John, "Gritty Brit" Adam Caruso has been writing intensively since the mid-1990s. His essays, published in "The Architect's Journal, OASE, Blueprint" and "Tate," focus on architectural practice outside the tradition of Modernism. Some of Caruso's key writings, gathered here, include "Sigurd Lewerentz and a Material Basis for Form" (1997), "The Tyranny of the New" (1998) and "The Emotional City" (2000).
Adam Caruso was born in 1962 and studied architecture at McGill University, Montreal. He and Peter St. John worked for Florian Beigel and Arup Associates prior to establishing their practice in 1990. For many years they have taught internationally--for example at Harvard University's Graduate School of Design in 2005. Recent London projects include Gagosian Gallery, Britannia Street and the refurbishment of the Barbican Concert Hall. Caruso St. John is currently working with Tate Britain to modernize the gallery's master plan.

The incessant trend to throw away rather than to repair, demolish rather than refurbish has been a topic of discussion and criticism for years-at the same time, resource consumption and the waste continue to increase. To counteract this trend, students at the University of Applied Sciences in Munich and ETH Zurich have been developing sustainable and imaginative concepts for repairing a wide variety of objects, applying them both manually and by using digital techniques such as 3D printing. Beyond restoration, many projects aim to further develop and improve the repaired objects constructively, materially, or even in terms of design, lending them new value. This publication presents a wide variety of approaches and projects, complemented by essays by notable personalities from the fields of architecture, preservation, materials science, design, manufacturing, and craftsmanship.

This is the first book in English on the Italian architects Mario Asnago (1896-1981) and Claudio Vender (1904-1986). Their city was mid-twentieth century Milan in transformation, and the extraordinary Milanese architectural scene of that time is revealed in their work and through the writings of their contemporaries. Cino Zucchi and Adam Caruso provide in-depth analyses of the conceptual and material quali- ties of the buildings, which are illustrated in survey drawings and photographs of a selection of Asnago Vender's urban projects. The book is the second in a series on 'The Limits of Modernism - a Forgotten Generation of European Architects'.

Providing a new insight into twentieth-century architecture, this is the first book in English on the work of French architect Fernand Pouillon (1912-1986). It includes Jacques Lucan's analysis of his post-war urbanism and its critique of mainstream modernism, a description of material construction by Adam Caruso, and Pouillon himself inspired by Aix-en-Provence and reflecting on the contemporary architect's position in a cultural continuum. At the book's heart lie survey drawings and photographs of Pouillon's key Parisian housing projects. This book is first in a series on 'The Limits of Modernism - a Forgotten Generation of European Architects'.

In the 1920s, London was a city on the cusp of change. Just as dance halls and jazz-age decadence displaced wartime austerity, a new generation of artists and designers sought to enliven the city's architecture, erecting dazzling buildings in the emerging art deco style. In contrast with the aging Victorian structures that dotted the city, these bright and colorful buildings--from the Hoover factory to the Ideal House by Raymond Hood, who later designed New York's Rockefeller Center--communicated the city's aspirations as a thriving, modern metropolis.
In the decades since, London's art deco buildings have lost none of their appeal. Millions of visitors gaze up at the headquarters of the "Daily Telegraph "and the nearby" Daily Express," take in the elegance of Eltham Palace, or sip a martini at the Savoy. The city's most popular art deco attraction, however, is the London Underground, which boasts a series of art deco and modernist stations, designed throughout the 1920s and '30s by noted architect Charles Holden. In "Modernism London Style," architectural historian Christoph Rauhut, with the help of three hundred photographs by Niels Lehmann, captures the architectural art deco heritage of London in a thrilling photographic tour. A portrait of the city during the interwar years, it chronicles the creativity of the artists and designers of the period--and the currents in the city's culture that helped shape their work.
Insightful essays and an introduction by architecture scholar Adam Caruso shed light on some of the key features that characterize art deco, from floral and animal motifs to Egyptian themes. For readers planning a trip to London and hoping to place these striking buildings, the book also includes a detailed register and maps.

The product of a continuous European architectural and intellectual practice that bridged the Second World War, the work of Rudolf Schwarz (1897-1961) allows a deep-er understanding of post-war German architecture. This book examines nine of his religious and secular buildings sited in the Rhineland, which are presented through new survey drawings and photographs. These are accompa-nied by Schwarz's project descriptions and his lecture 'Architecture of Our Times' from 1958, which contextual-izes his approach. Essays by Wolfgang Pehnt and an interview with Schwarz's wife, the architect Maria Schwarz, provide further insight into this complex oeuvre.