Juan Jose Lahuerta's Columns of Smoke series offers bold new readings of modernity and its key figures while redefining the connections between architecture, ornamentation, and the portrayal of both in print media. The third volume focuses on the Spanish architect Antoni Gaudi (1852-1926), whose spectacular fin-de-siecle bohemian modernism stood in revolutionary contrast to the leading approaches of the day. With the rise of Le Corbusier's modern style of architecture in the early twentieth century, architects who favored ornamentation and a strong bond with nature, like Gaudi, were relegated to the sidelines. Lahuerta draws on first-hand documents, many previously unpublished, to show that Gaudi, far from being the isolated eccentric seen in other accounts, was keenly aware of the major theories and works of his time and cleverly used industrial processes to produce ornamental details that appear today to be almost handmade. Equally impressive was Gaudi's ability to capitalize on his fame once in the public eye, as both the architect and his buildings appeared in illustrations in the popular press. His influence on avant-garde artists like Salvador Dali, who admired the edible appearance of Gaudi's Casa Mila in Barcelona, and Pablo Picasso, who was fascinated by the eroticism of the Casa Batllo, attests to the architect's impact far beyond his field. Richly illustrated with rare images from a variety of sources, this highly visual take on Gaudi is also a spirited commentary on the roots of modernism more generally. Entertaining and perceptive, Antoni Gaudi challenges us to reconsider what we thought we knew about this pioneering architect and his distinctive work.

In his Columns of Smoke series, Juan Jose Lahuerta takes on the enormously ambitious task of re-reading modernity, offering us fresh ways of looking at it while drawing new links between the ideas of architecture and ornamentation, with a special focus on how they have been treated in print. While the first volume of Columns of Smoke considered epoch-making architect Adolf Loos's relationship with photography, here Lahuerta turns to the Classical strand in Loos's architecture and to his written work-and specifically his engagement with architectural and artistic theory. Lahuerta pays particular attention to Loos's seminal "Ornament and Crime," the essay that established disornamentation as the signal feature of twentieth-century architecture. Through close analysis of that essay he unearths the racially charged, pseudoscientific ideas from early anthropology that underpin Loos's thinking. Sure to be controversial, this new reading of Loos's landmark writings calls the whole disornamentation project into question, and in the process, it reveals a radically new perspective on a major turn in modern design and culture.

The expert contributors to this lavishly illustrated volume, devoted entirely to Mies van der Rohe's Barcelona Pavilion of 1929, address here for the first time the forgotten contexts of the Pavilion's genesis. Habitually thought of as an abstract, unpolluted, and splendidly isolated building--a precursor of Mies's American period--the Pavilion is revealed here as a thoroughly European work, perhaps less pristine but more authentic. Mies and Lilly Reich were commissioned to design not only the Pavilion but also more than one hundred thousand square feet of German stands spread throughout the Exposition. By examining that work in addition to the Pavilion itself, the contributors present a farreaching reinterpretation of the whole. They also explore connections with the mass media, highlight the work's antecedents and meaning in the history of architecture, and analyze the current pavilion, a reconstruction of the original built in 1986. No other critical study offers a comparable overview of Mies's work in Barcelona.