Born in Warsaw in 1926, Joseph Rykwert is one of the best-known critics and historians of architecture. One of very few writers to be awarded the RIBA's highest honour, the Royal Gold Medal, in 2014, and author of countless books and essays, his influence over the past 60 years cannot be underestimated. In this memoir he tells for the first time of how his life's experiences shaped his working life. He addresses the dualities between which he had to navigate: Jewish/Polish, Polish/British and later, Practice/Scholarship. He spent most of his working life between the US and UK and worked both as a designer and a writer; as such his ground-breaking ideas and work have had a major impact on the thinking of architects and designers since the 1960s and continue to do so to this day.

Roman towns and their history are generally regarded as being the preserve of the archaeologist or the economic historian. In this famous, unusual and radical book which touches on such disparate themes as psychology and urban architecture, Joseph Rykwert has considered them as works of art. His starting point is the mythical, historical and ritual texts in which their foundation is recounted rather than the excavated remains, such texts having parallels not merely in ancient Greece but also further afield Mesopotamia, India and China.

To achieve his reading of the Roman town, he has invoked the comparative method of the anthropologists, and he examines first of all the 'Etruscan rite', a group of ceremonies by which all, or practically all, Roman towns were founded. The basic institutions of the town, its walls and gates, its central shrines and its forum are all of them part of a pattern to which the rituals and the myths that accompanied them provide clues. Like in other 'closed' societies, these rituals and myths served to create a secure home for the citizen of Rome and to make him feel part of his city and place it firmly in a knowable universe.

'It is refreshing to look at standard themes of the history of urban design from a nonrational point of view, to see surveyors as quasi priests and orthogonal planning as a sophisticated technique touched by divine mystery . . .. Rykwert's lasting worth will be to wrench us away from rationalist simplicities, and to make us face the fundamental disquietof the human spirit in its claim to a permanent place on the land.' Spiro Kostoff, "Journal of the Society Architectural Historians "

Existing histories of modern architecture typically give their highest praise to private houses and their most severe condemnation to architect-authored urban plans, often neglecting the built works that are no smaller than a single building and possibly as large as an urban block, the middle or institutional scale, where culturally significant urban transformation actually takes place. Urban architecture is a timely topic as today cities worldwide are suffering accelerated urbanisation, which is often dehumanising and destructive, especially to the unbuilt environment, airs, waters and soils. The middle or institutional scale is shown to activate and actualise latent potentials for cultural experience and environmental intelligence, allowing the city to surprise itself and delight in its discoveries. In Projecting Urbanity, David Leatherbarrow, via author-architect texts by his former doctorate students, lays out the basis for a revision of modern architecture's contribution to cities and their culture. Presenting a series of texts featuring buildings or their parts of various scales - from the construction detail, to the room or garden, to ensembles within a neighborhood - the contributors introduce concepts for contemporary and future urban architecture, together with richly indicative examples from the past several decades. While architecture cannot "solve" today's urban problems, it certainly has a role to play in their productive transformation, articulating opportunities for life and culture that are more humane, less wasteful, and more beautiful.

It is difficult to imagine the history of modern architecture in Britain being written without reference to the work of Eldred Evans and David Shalev. From 1967, when they won the international competition for Newport High School, Evans and Shalev maintained a distinctive presence as designers. Together they created a body of work that is uniformly innovative, elegant and sensitive to place, and realised with care, skill and intelligence. This new monograph documents their remarkable oeuvre as it developed over six decades. Introduced by Joseph Rykwert, the book includes critical commentaries by David Dunster, Patrick Hodgkinson and others. Contents: Introduction by Joseph Rykwert; Principle works: Newport High School, Children's Reception Home Alexander Road, Truro Crown Courts, Tate St. Ives, The Quincentenary Library, Jesus College, Bede's World Museum; Complete Project Index; Credits.

Born in Warsaw in 1926, Joseph Rykwert is one of the best-known critics and historians of architecture. One of very few writers to be awarded the RIBA's highest honour, the Royal Gold Medal, in 2014, and author of countless books and essays, his influence over the past 60 years cannot be underestimated. In this memoir he tells for the first time of how his life's experiences shaped his working life. He addresses the dualities between which he had to navigate: Jewish/Polish, Polish/British and later, Practice/Scholarship. He spent most of his working life between the US and UK and worked both as a designer and a writer; as such his ground-breaking ideas and work have had a major impact on the thinking of architects and designers since the 1960s and continue to do so to this day.

No other place on earth is as full both of promise and of dread as the city; it is at once alienating and exciting. These concentrations of people have not, however, come about as the result of vast immutable, impersonal forces, but because of human choices. The worsening or betterment of urban life will also be the result of choices. Our choices.

That cities display and represent the personal desires of their inhabitants is central to Joseph Rykwert’s argument in The Seduction of Place. Insisting that they are the physical constructs of communities, he travels through history to trace their roots in ancient times and outlines current attempts and future possibilities to improve the metropolis. Rykwert includes a broad range of urban landscapes: 18th-and 19th-century Paris and London, the current sprawl of Mexico City and Cairo, planned cities like Brasilia, and, finally, New York, the world capital.

Always opinionated and often controversial, Rykwert assesses how and why urban projects from the past succeeded or failed and what lessons can be drawn from them for the future. Ultimately, The Seduction of Place is a deeply felt and powerfully reasoned call for a commitment by every citizen to the creation of a more humane place to live.

This new edition of "On Adam's House in Paradise" (first published by the Museum of Modern Art) incorporates all the original illustrations and several new ones, as well as additional text by the author. "On Adam's House in Paradise" "takes off backward through history hunting for Adam's house, the original image. En route, with wry wit and charm, Rykwert singes every generation of architectural theoreticians back to Vitruvius, but he manages to illuminate their efforts and their immolations."--Charles Moore, "Progressive Architecture"

This book explores the relationships between form, space, and cultural meaning in human habitation. Authors from a variety of disciplines and international sites address the possibilities of common ground in architectural theories about place and dwelling, anthropological research on settlement archaeology, and the study of cultural landscapes and geography. Illustrated with 220 full-color images, this book is a unique attempt to combine thinking about cultural meaning in space and settlements, both ancient and contemporary.

Salvador Dalí's Art and Writing, 1927-1942 examines the evolution of Dalí's art during the 1920s and 30s, when he was associated, first with the Catalan avant-grade, and then with the Surrealist group in Paris. During this period, Dalí's painting style changed radically, a phenomenon that has never been fully accounted for in the extensive literature on this subject. Haim Finkelstein's study is the first to examine these writings in detail as the foundation for the evolution of Dalí's unique artistic vision.