These seventy-five works are the harvest of seventeen years of exploration from our office in San Francisco. With this admired city as backdrop, we search for ways to produce fitting contemporary architecture in its highly conservative terrain. These local efforts have provided opportunities to also work nationally. The projects describe allied explorations of Outsides and Insides, Places and Programs, Contexts and Contents. Outsides are about building the evolving city with continuity. More than 80% of the fabric of cities is housing, so urban grain is predominantly composed of dwellings, and multifamily housing has become a focus of our work where we have explored ways to be both contextual and contemporary simultaneously. Insides are about blankness, emptiness to provide indeterminate shelter which frees occupants to inhabit space at their will.

Artron is the foremost printing enterprise in China. As the core project of Artron’s printing culture industry, the Artron art website is actively setting up to create archives for artists. Moreover, since the site is at the periphery of the city, the art center will need to be conceived with a one-stop multi-service printing facility and cultural center. The site of Shenzhen’s Artron Art Center is located on the city edge, surrounded by three highways. In order to keep away from the noisy and chaotic environment, the building is idealized to be a landmark to define this area. Since the main view of this building will come from the three adjacent highways, the building shape should be continuous and integrated with the large-scale urban infrastructure to form a dialogue between the two. Taking into account the volume as a whole, the architects must think about how to digest this huge volume. On the one hand, on the premise of integrity and continuity, the gaps between the different parts of the volumes were created to bring people the comfortable visual impression when walking in this territory.

The work of Fabian Llonch and Gisela Vidalle - presented here in an eye -opening survey- is marvelous for its imaginative seamlessness, and the way in which the artist's truth always shines through the circumstances of its articulation. Here is architecture of inseparable form and thought. The thirteen projects in this book are filled with the fervor and energy of an architect who also teaches young architects. Fabian Llonch and Gisela Vidalle are part of a small group of architects who understand the importance of the relationship between teaching and practice, its place at that intricate and indefinable nexus of architecture and its theory in which architecture schools are hothouses for the incubation of ideas in architecture and design.

Pavilion Living looks at the architecture of three recently completed pavilions by Peter Zimmerman Architects on the gardens of a large private house on Philadelphia’s Main Line, and the associated characteristics that accompany these beautifully conceived and carefully built structures. Located on a portion of what was once the extensive property of the Ardrossan Estate, an early 20th-century Georgian Revival mansion by Horace Trumbauer, the new pavilions accompany one of the next generation of houses that can now be seen on the rolling hills of the historic manor. Pavilion Living is a story that encompasses architecture, patronage, and the art of benessere (well-being) with the aim of serving designers and homeowners seeking similar solutions to meaningful outdoor living.

STRIVE explores Jones Studio’s four decades of work bringing inventive design to our built environment. The firm samples from ancient global architecture and the pragmatics of the American School, from the realities of today’s climate change to nature’s healing truths, to create a unique modernism of place. Nature is a primary partner and collaborator in Jones Studio’s work. Firm founder Eddie Jones, brother Neal Jones and partners Brian Farling and Jacob Benyi express the preciousness of water and light in the Sonoran Desert and beyond. Water performs, literally and figuratively, across Jones

Between 1915 and 1917 the Russian composer, Sergei Prokofiev wrote a series of twenty piano pieces. While playing them for a gathering of friends, the poet Konstantin Balmont wrote a sonnet which entitled Mimolyotnosti which Kira Nikolayevna would translate as Visions fugitives. Inspired by these dazzling miniatures, I have assembled a jewel box containing twenty individual felt-tip drawings on watercolor paper capturing fugitive visions of Taos and Santa Fe, New Mexico.

Between 1915 and 1917 the Russian composer, Sergei Prokofiev wrote a series of twenty piano pieces. While playing them for a gatheringof friends, the poet Konstantin Balmont wrote a sonnet which entitled Mimolyotnosti which Kira Nikolayevna would translate as Visions fugitives. Inspired by these dazzling miniatures, I have assembled a jewel box containing twenty individual felt-tip drawings on watercolor paper capturing fugitive visions of China. For a country that has of late been focused on the future, I have been fascinated by the search for a true contemporary regional language in traditional Chinese architecture and painting. The intricate and careful composition in relation to landscape and light has been a continual revelation, as evidenced by the Summer Palace on the outskirts of Beijing and vanishing water towns such as Zhujiajiao, known as the "Venice of Shanghai."

Between 1915 and 1917 the Russian composer, Sergei Prokofiev wrote a series oftwenty piano pieces. While playing them for a gathering of friends, the poet Konstantin Balmont wrote a sonnet which entitled Mimolyotnosti which Kira Nikolayevna would translate as Visions fugitives. Inspired by these dazzling miniatures, I have assembled a jewel box containing twenty individual felt-tip drawings on watercolor paper capturing fugitive visions of Italy. I have always been eager to capture the faded beauty of cities and buildings. This obsession would inevitably draw me to Venice and Sicily. Wandering amidst the shadows of the Venetian light I have tried to portray the beauty of this luminous city. No part of Italy has as many layers of history or been inhabited by so many different peoples as Sicily. From the Greeks who colonized Siracusa and Selinunte, to the Romans in Agrigento, to the Normans in Palermo.

This book contains a compilation of the work of Perkins & Will Miami since it’s inception in 1996. Drawing from a legacy of nearly a century of the fabled Chicago architectural Firm, the story of the Miami Studio is one of a search for a regional and critical modernist language unique to its time and place. Starting as a five person office, the studio has grown to a team of 70 architects, interior designers, and landscape professionals who have come together with a single vision of meaning and purpose. The work ranges from one of the most visionary Corporate Headquarters in the country, to a Hospital in Ghana; from the most important new Public Park in Florida to the largest Women’s University in the Middle East; from an Innovation Center in Rio de Janeiro, to an Office Building in Wynwood.

The white worlds Kim Utzon has created in Denmark and southern Sweden over the last few decades are stage sets for the ordered appearance of rational and reasonable human beings at work, at home, or at play. Clear in their composition, sequence, and scale, sensuous in their responseto light, and conducive to rest and reason more than anything else, theare a refinement of the Scandinavian Modern tradition in which he works. Combining sparse and light-filled rooms surrounded or defined by open grids with expressive roofs or objects, Utzon's work is able to make sense out of complex programs and create relaxed and continuous spaces.

This book presents a privileged insight into the design and construction of the award-winning Thomas P. Murphy Design Studio Building through a series of interviews with the main professionals responsible for its conception, design and construction: the lead architects Bernardo Fort-Brescia, Raymond Fort-Brescia and Thomas Westberg; the builders Thomas C. Murphy, Erin Murphy, Nick Duke and Jason Anderson; the curtain wall manufacturers Jose Daes and Carmen L. Guerrero, and the University of Miami Project Manager, Gary Tarbe. It also offers sumptuous, detailed photography to provide a thorough understanding of a building that is not just a brilliant work of architecture in its own right but that also provides an inspiring, tailor-made environment in which to educate the architects of the future.

STRATA celebrates modernist design in multiple ways. Its vast use of glass blurs the inside with the outside. Its deep overhanging eaves intersecting with each other at various angles recalls the best work of Wright. Its expansive glass calls to mind Neutra’s work and his insistence on architectural transparency. The house’s imaginative interiors bespeak comfort and solace needed for days spent in the unforgiving Arizona sun. Its construction required extensive work on the site before the first slab was poured, a testament to the talent of the construction team. Whenever and wherever possible, native stone and wood were used to give the house a sense of authenticity. The sliding glass doors located at multiple points allow the owners to have delightful dinner parties just as the sun is setting and the dry air is cooling – neither indoors nor outdoors, but a vivid combination of the two.

COMMONPLACES is the second volume of drawings, models, and photography to explore the work of this nationally recognized Boston based firm. As architects with decades of experience, we bring a commitment to creating shared communal places and we understand that a city - or a campus - is an ever- changing phenomenon. Our passion as architects has to do with how those places evolve and our goal is to contribute to a forward-looking vision of what they can become – of how they can be an appropriate addition to what is already there. The opportunities are always based on research, outreach, experimentation, and collaboration between often seemingly divergent interests. But we believe in that collaborative process and we recognize that there will be many fingerprints on what is developed. We also make an honest acknowledgement to ourselves that things could be done differently – that a different proposition could always be made. Brian Healy is an architect who works within the modern American tradition. That is to say, he endeavors to engage the tradition of practice as exemplified by architects such as Louis Sullivan, Frank Lloyd Wright and Louis I. Kahn. It takes considerable courage to engage the American tradition of practice today, in a time dominated by an obsessive emphasis on universal “globalization,� and the parallel loss of local place, culture and identity. Yet, as Paul Ricoeur stated over forty years ago, while universal civilization is available around the world, and is desired by everyone, anywhere, there is no culture that is not local, that does not belong to a particular place. In his work, Healy endeavors to seek the essence of his discipline, architecture, as defined by its place and time—an American architecture, born of the commonplace and the vernacular, yet at the same time engaging the great works of our modern predecessors. – Robert McCarter

This instalment of the Oscar Riera Ojeda Publishers Masterpiece Series focuses on Hive Architects' Shibusa Residence on the Big Sarasota Pass in Siesta Key, Florida. In response to the client's brief; for their future home to reflect their simple, uncomplicated lifestyle, the long, narrow lot and zoning requirements, the studio decided to base their project around the Japanese concept of Shibusa: economy of form, line and effort resulting in a refined, timeless tranquility. Featuring critical texts by renowned architectural writers, detailed plans and layouts and comprehensive photographic documentation, this monograph shows how the L-shaped structure made up of a pair of rectilinear pavilions seems to float over the tropical landscape, offering excellent functionality for the public and private programs, which include a main and guest pavilion, tropical garden and lap pool, and, crucially, an uninterrupted stream of views of the Big Sarasota Pass and/or Bayou Louise throughout the property.

City for City presents examples of the work of the City College Architectural Center over the past fifteen years. The projects selected are grouped under the categories of exhibitions, visioning exercises, planning and urban design studies and also include a few examples of assignments for implementation. The work was developed at the request of the affected communities and undertaken with their full participation. The projects were financed in various ways, from pro-bono studies to grant-supported efforts. These grants and the special support from state and municipal entities enable the center to develop the projects in greater depth. City for City illustrates the value of cooperative community-based work in which both sides learn and share in the experience. Such interactions offer valuable insights for both students and faculty not normally found in traditional architectural practices.

Pavilion Living looks at the architecture of three recently completed pavilions by Peter Zimmerman Architects on the gardens of a large private house on Philadelphia’s Main Line, and the associated characteristics that accompany these beautifully conceived and carefully built structures. Located on a portion of what was once the extensive property of the Ardrossan Estate, an early 20th-century Georgian Revival mansion by Horace Trumbauer, the new pavilions accompany one of the next generation of houses that can now be seen on the rolling hills of the historic manor. Pavilion Living is a story that encompasses architecture, patronage, and the art of benessere (well-being) with the aim of serving designers and homeowners seeking similar solutions to meaningful outdoor living.

From a ranch in the U.S. and a Finnish farmstead to a Spanish hacienda and Australian outback home, Stables is a celebration of horses and their extraordinary lodgings. International in scope, ranging from traditional to contemporary in flavour, these stables built of wood, metal, and stone are exemplars of the finest taste in design. The allure of housing horses is a story of architecture, design, landscape, and a unique way of living in magnificent places and spaces that are made exclusively for horses and for those who love them. The book also explores indoor and outdoor arenas, paddocks, and gardens, providing a humane face to the otherwise functional buildings. Social spaces for the horses, riders, and visitors also play an important role in filling out the projects, making stables not just places for sport but also for entertainment and leisure. There is a beauty here that reflects the majesty of these animals, the distinctive landscapes in which they are set, and the creative visions of the owners, architects, and designers who have all brought them into being. Beautifully photographed, the book is sure to interest horse aficionados as well as all those interested in engaging, clean, human-scaled design.

Architectural photography is where Se found his niche and in Seeing Borobudur he turns his expert eye on the world’s largest Buddhist monument in Central Java, Indonesia. Dating back to the 9th century, the UNESCO World Heritage site features thousands of stunning relief panels and hundreds of statues set within incredible temple architecture. This book offers a unique perspective on these treasures, taking readers on an in-depth exploration of the temple and the different religious stories, myths and depictions of everyday life found in the panels, which are generally considered to be some of the most exquisite of the ancient Buddhist world.

Each year, the Graduate Program in Urban Design at the City College of New York travels to a city somewhere in the world that is experiencing a revelatory form of stress. In January of 2006 - joined by students and faculty from the Universidad Catolica in Quito and from the architecture and landscape programs at CCNY - the destination of the group was the small town of Nueva Loja in the Amazon basin of Ecuador. At the time, a population of around 100,000 was expanding exponentially. Nueva Loja was the fastest growing municipality in the country * There was one reason for this: the oil boom. Indeed, almost everyone calls the place "Lago Agrio" - Bitter Lake, after the town in Texas that houses the headquarters of Texaco, the first petroleum giant on the scene. There's no little irony in this name. As the endless lawsuit against Chevron, Texaco's successor, has made abundantly clear, Lago's growth has come at the cost of extremely bitter consequences. The group was inspired to visit by a more particular observation: Lago's projected rate of growth would see the population exceed 150,000 at just the moment the oil ran out. And so, they decided to investigate what might happen then, how Nueva Loja could move beyond oil to an economy and urban pattern that embrace renewed harmony with the natural environment and is dedicated to creating an intensely humane and supportive place for its inhabitants. The projects in this volume represent a series of propositions for such a place. They are utopian in that they look to a time of harmony and prosperity but intensely practical in that they stem from the specifics of people and place and utilize simple, historical, and local technologies, not any magic fix.

The concept in the back of the monumental structure located at the IDF officers school is based on receipt of the Torah by Moses on Mount Sinai. Moses received his appointment at the location of the burning bush. At the ceremony revealing their officer rank on the parade ground, the cadets receive and agree to lead their soldiers with the burning bush in the background, connecting them with the Godly appointment. The biblical verse “and the bush was blazing, yet it was not consumed� symbolizes the appointment and constitutes the source of inspiration for the structure design which through flames of concrete encompass the officer in the fire of appointment during prayer. The prayer hall is built of 24 concrete flames installed on a concrete skeleton with steel screws and poles created in an industrial and controlled process, millimeter precise. Each flame is connected by two steel poles at the top and 2 anchor points at the bottom locked in place by screws. Each group of three flames was stabilized by a horizontal iron pole. The walls of the hall were stabilized in the same way. “And the middle bar in the midst of the boards shall reach from end to end…� The Book of Exodus chapter 26 verse 28. The whole compound is interwoven with a forest of olive trees as the sword is interwoven in the officer pin, the olive branch now entwining the flame of appointment.

Rejecting the idea that 'green architecture' is merely planting trees on buildings, our architecture provides an eco-system for people to connect with nature. We merge natural energy and natural materials to produce net-zero buildings for society. Therefore, trees are used not as decoration but as an essential component of our houses. They interact with the buildings to limit water and flooding, to filter light and sounds. We recycle water. We bath our spaces with natural light and fresh air provided by natural ventilation. Hence, our houses do not require air-conditioning and have minimal energy consumption. We apply solar panel on our roofs with a reasonable price. Even though our houses are artificial creations, they become an eco-system, welcoming birds, insects, and animals to live side by side with humans.

"I think bamboo is the right material for creating a new architectural language unique to Vietnam." Vo Trong Nghia. With the climate crisis raging and awareness of humanity's detrimental impact on the environment now patently apparent, the need for architects to come up with sustainable new solutions has never been more pressing. A key part of any green approach to architecture is the use of local natural materials with a low environmental impact. Bamboo, which has been widely used in Asian architecture for centuries as scaffolding and for bridges, pavilions, houses and other structures, is an ideal material in this context: lightweight, strong and readily available. In an effort to meet the challenges of the 21st century, VTN Architects has developed new ways of working with two species of bamboo in particular: the flexible "Tam Vong" (Thyrsostachys oliveri Gamble) and sturdier "Luong" (Dendrocalamus barbatus), creating a manufacturing workflow that allows for the production of standardized modules, a knitting technique that enables the material to span large distances and environmentally friendly traditional treatments such as mud-soaking and smoking. In Bamboo Architecture we see how these methods have been applied in award-winning, groundbreaking projects such as the Wind and Water Cafe, Diamond Island Community Center, and the majestic Vedana Restaurant, alongside an illuminating introduction by Masaaki Iwamoto and an interview with the studio principal Vo Trong Nghia who offers an inspiring vision for the future of natural, green architecture.

We wanted the house to lie amid the woods | Landscape, esthetics, and common sense are the three axes that direct the work of Argentine architect Luciano Kruk. This book illustrates in great detail one of his most representative works: his own summer house. And it is precisely because it tackles a self-imposed need that his deepest insights about architecture are condensed in this house. | L4 HOUSE is one of Kruk's most mature works, one in which he managed to stretch his esthetic and spatial search to the extreme. The author's philosophy and architectural values emerge through a thorough study of this house. "You learn watching", Luciano sometimes says. | In this project as in all of his other buildings, Kruk seeks to create essential spaces where the esthetic pleasures can be enjoyed. His structures aim to provide an harmonious integration with the landscape, since he cosiders houses to be shelters.

Immersed - The California Houses of Feldman Architecture is an indepth look at 20 years of the firm's defining residential work spanning three areas: Urban, Suburban, and Rural. Feldman Architecture, a vibrant San Francisco-based studio, aims to create authentic, sitesensitive, sustainable spaces through a deeply collaborative process. This book, which includes commentary from Aaron Betsky and Daniel P. Gregory, as well as an interview with Vladimir Belogolovsky, situates Feldman Architecture's work within the northern California design canon and illustrates how the firm's voice subtly translates across diverse geographies and contexts. Jonathan Feldman, in closing, reflects upon the values and aspirations that unify the firm's work and inform its vision for the future.