Carmontelle's landmark publication, Garden at Monceau, beautifully reproduced to show the Parisian garden's artistic and cultural importance before the French Revolution. Originally published in 1779, Garden at Monceau is a richly illustrated presentation of the garden Louis Carrogis, known as Carmontelle, designed on the eve of the French Revolution for Louis-Philippe-Joseph d'Orleans, duc de Chartres. With its array of architectural follies intended to surprise and amaze the visitor, the garden was a setting for ancien regime social life. Carmontelle's portrayal of his work in Garden at Monceau therefore serves as an expression of a key moment in the history of European landscape design, garden architecture, and social history. This facsimile edition, with its English-language text and reproductions of the original engravings, is accompanied by essays that interpret the landscape design and examine Carmontelle's larger career as a painter and theater producer.

When not directly shaping the fabric of Paris themselves, its rulers have always kept tight control over the activities of others, with the result that Paris has developed under some of the strictest building regulations of any major city. Despite Paris's much vaunted reputation as the cultural salon of Europe, a certain suspicion towards foreign architectural imports has characterised its development, and outside influences have always been adapted to local needs and indigenous modes of expression, a tradition which carried on until the post-war era and arguably continues today. The last decades of the 20th century have witnessed a rush to modernise and adapt a crumbling fabric to the exigencies of the electronic age.

Text in French & English. Even though his viaducts for the TGV Atlantic line and several innovative projects rapidly brought him national recognition, Jean-Yves Barrier, who set up his own practice in Tours in 1990, managed to avoid involvement in fashions and trends. Whether he is dealing with homes, public facilities, offices, industrial buildings or shop design, Barrier approaches each project with a fresh eye, and tries to come up with a powerful idea that is then expressed spontaneously in his sketches. His initial insight is developed in very precise studies, bringing an architectural approach to the technical details. The originality of his buildings is inevitably associated with the renewal of form, a great variety of subjects and blending materials in a way that exploits the value of each to optimise the construction as a whole. Even though he was one of the first to realise a solar building (1978), an automated house (1990) and a low-energy apartment block (2001), these technical innovations are not his chief concern. The essential feature for Barrier is the correctness of the response applied to the programme and to the context, with consistent respect for the users. He combines generosity in his human contacts with rigour in conception and realisation. In all his exchanges with contractors, engineers, workmen and users, his taste for dialogue promotes a climate of confidence that enables every project to find its own distinctive quality.