Renaissance master Andrea Palladio's architectural DNA can be seen on modern-day icons from Buckingham Palace to the White House, from numerous English stately homes to Virginian plantation houses. In THE PERFECT HOUSE Witold Rybczynski travels along the Brenta River in north-eastern Italy to experience the surviving original Palladian villas for himself. He sets out to discover how a rustic sixteenth-century stonemason, born Andrea di Pietro, first had to become 'cultured' before he could be one of the most respected architects of all time, and how Palladio managed to bring the elegance of Ancient Rome to the Venetian countryside. Out of the chaos of hired cars and cheap flights, towns packed with 'Ristoranti Palladio' and herds of tourists, Rybczynski savours moments of epiphany as he contemplates Palladio's perfect houses. Part travelogue, part historical biography, part architectural guide, THE PERFECT HOUSE is a delightful and enlightening exploration of the birth of domestic architecture and the man who spawned it.

In a brilliant collaboration between writer and subject, Witold Rybczynski, the bestselling author of Home and City Life, illuminates Frederick Law Olmsted's role as a major cultural figure at the epicenter of nineteenth-century American history.

We know Olmsted through the physical legacy of his stunning landscapes -- among them, New York's Central Park, California's Stanford University campus, and Boston's Back Bay Fens. But Olmsted's contemporaries knew a man of even more extraordinarily diverse talents. Born in 1822, he traveled to China on a merchant ship at the age of twenty-one. He cofounded The Nation magazine and was an early voice against slavery. He managed California's largest gold mine and, during the Civil War, served as the executive secretary to the United States Sanitary Commission, the precursor of the Red Cross.

Rybczynski's passion for his subject and his understanding of Olmsted's immense complexity and accomplishments make his book a triumphant work. In A Clearing in the Distance, the story of a great nineteenth-century American becomes an intellectual adventure.

An inviting exploration of architecture across cultures and centuries by one of the field's eminent authors "Rybczynski's expansive account traces the influence of social, technological, and economic shifts on architecture across centuries."-New York Times Book Review In this sweeping history, from the Stone Age to the present day, Witold Rybczynski shows how architectural ideals have been affected by technological, economic, and social changes-and by changes in taste. The host of examples ranges from places of worship such as Hagia Sophia and Brunelleschi's Duomo to living spaces such as the Katsura Imperial Villa and the Alhambra, national icons such as the Lincoln Memorial and the Sydney Opera House, and skyscrapers such as the Seagram Building and Beijing's CCTV headquarters. Rybczynski's narrative emphasizes the ways that buildings across time and space are united by the human desire for order, meaning, and beauty. This is the story of architecture's physical manifestation of the universal aspiration to celebrate, honor, and commemorate, and an exploration of the ways that each building is a unique product of patrons, architects, and builders. Firm in opinion, even-handed, and rooted in scholarship, this book will delight anyone interested in understanding the buildings they use, visit, and pass by each day.

The Miami estate of Vizcaya, like its palatial contemporaries Biltmore and San Simeon, represents an achievement of the Gilded Age, when country houses and their gardens were a conspicuous measure of personal wealth and power. In Vizcaya: An American Villa and Its Makers, a celebrated architecture critic and writer and an award-winning landscape architect explore the little-known story of Vizcaya, an extraordinary national treasure. Witold Rybczynski and Laurie Olin use a rich collection of illustrations, historic photographs, and narrative to document the creation of this stunning house and landscape. Vizcaya was completed in 1916 as the winter retreat of Chicago industrialist James Deering. The cosmopolitan bachelor, who chose Miami for its warm climate, enlisted the guidance of artist Paul Chalfin, with whom he traveled throughout Italy to survey houses and gardens. With the assistance of architect F. Burrall Hoffman, Jr., and garden designer Diego Suarez, the 180-acre site on Biscayne Bay was transformed into a grand estate, complete with lagoons, canals, citrus groves, a farm village, a yacht harbor, and a 40-room Baroque mansion. The lure of this architectural and landscape masterpiece, named for a Spanish Basque province, is undeniable. John Singer Sargent planned a short visit in 1917 but stayed for several months, producing an inspired series of watercolors, many of which are reproduced here for the first time. The book is further enriched by archival material and by the color images of noted photographer Steven Brooke, paying homage to Vizcaya as a lens through which readers learn about architecture, landscape and garden design, interior decoration, and art.

This delightful chronicle of contemporary building and planning in the city of Charleston, South Carolina, makes a compelling case for the importance of architecture on a local scale.

In this new work, prizewinning author, professor, and "Slate "architecture critic Witold Rybczynski returns to the territory he knows best: writing about the way people live, just as he did in the acclaimed bestsellers "Home "and "A Clearing in the Distance." In "Makeshift Metropolis," Rybczynski has drawn upon a lifetime of observing cities to craft a concise and insightful book that is at once an intellectual history and a masterful critique.
"Makeshift Metropolis "describes how current ideas about urban planning evolved from the movements that defined the twentieth century, such as City Beautiful, the Garden City, and the seminal ideas of Frank Lloyd Wright and Jane Jacobs. If the twentieth century was the age of planning, we now find ourselves in the age of the market, Rybczynski argues, where entrepreneurial developers are shaping the twenty-first-century city with mixed-use developments, downtown living, heterogeneity, density, and liveliness. He introduces readers to projects like Brooklyn Bridge Park, the Yards in Washington, D.C., and, further afield, to the new city of Modi'in, Israel--sites that, in this age of resource scarcity, economic turmoil, and changing human demands, challenge our notion of the city.
Erudite and immensely engaging, "Makeshift Metropolis "is an affirmation of Rybczynski's role as one of our most original thinkers on the way we live today.

Before he became America's foremost landscape architect, Frederick Law Olmsted (1822-1903) was by turns a surveyor, merchant seaman, farmer, magazine publisher, and traveling newspaper correspondent. In 1856-57 he took a saddle trip through Texas to see the country and report on its lands and peoples. His description of the Lone Star State on the eve of the Civil War remains one of the best accounts of the American West ever published. Unvarnished by sentiment or myth making, based on firsthand observations, and backed with statistical research, Olmsted's narrative captures the manners, foods, entertainments, and conversations of the Texans, as well as their housing, agriculture, business, exotic animals, changeable weather, and the pervasive influence of slavery. Back and forth from the Sabine to the Rio Grande, through San Augustine, Nacogdoches, San Marcos, San Antonio, Neu-Braunfels, Fredericksburg, Lavaca, Indianola, Goliad, Castroville, La Grange, Houston, Harrisburg, and Beaumont, Olmsted rode and questioned and listened and reported. Texas was then already a multiethnic and multiracial state, where Americans, Germans, Mexicans, Africans, and Indians of numerous tribes mixed uneasily. Olmsted interviewed planters, scouts, innkeepers, bartenders, housewives, drovers, loafers, Indian chiefs, priests, runaway slaves, and emigrants and refugees from every part of the known world--most of whom had "gone to Texas" looking for a fresh start. He also observed the breathtaking arrival of spring on the prairie and the starry nights that seemed to prove the truth of the German saying "The sky seems nearer in Texas."

"Palladio is the Bible," Thomas Jefferson once said. "You should get it and stick to it." With his simple, gracious, perfectly proportioned villas, Andrea Palladio elevated the architecture of the private house into an art form during the late sixteenth century -- and his influence is still evident in the ample porches, columned porticoes, grand ceilings, and front-door pediments of America today.

In The Perfect House, bestselling author Witold Rybczynski, whose previous books have transformed our understanding of domestic architecture, reveals how a handful of Palladio's houses in an obscure corner of the Venetian Republic should have made their presence felt hundreds of years later and halfway across the globe. More than just a study of one of history's seminal architectural figures, The Perfect House reflects Rybczynski's enormous admiration for his subject and provides a new way of looking at the special landscapes we call "home" in the modern world.

The Best Tool of the Millennium

The seeds of Rybczynski's elegant and illuminating new book were sown by The New York Times, whose editors asked him to write an essay identifying "the best tool of the millennium." An award-winning author who once built a house using only hand tools, Rybczynski has intimate knowledge of the toolbox -- both its contents and its history -- which serves him beautifully on his quest.

One Good Turn is a story starring Archimedes, who invented the water screw and introduced the helix, and Leonardo, who sketched a machine for carving wood screws. It is a story of mechanical discovery and genius that takes readers from ancient Greece to car design in the age of American industry. Rybczynski writes an ode to the screw, without which there would be no telescope, no microscope -- in short, no enlightenment science. One of our finest cultural and architectural historians, Rybczynski renders a graceful, original, and engaging portrait of the tool that changed the course of civilization.

What is style in architecture? "Style is like a feather in a woman's hat, nothing more," said Le Corbusier, expressing most modern architects' low regard for the subject. But Witold Rybczynski disagrees, and in The Look of Architecture, he makes a compelling case for the importance of style to the mother of the arts.

This is a book brimming with sharp observations--that form does not follow function; that the best architecture is not timeless but precisely of its time; that details do not merely complement the architecture--details are the architecture. But the heart of the book illuminates the connection between architecture, interior decoration, and fashion. Style is the language of architecture, Rybczynski writes, and fashion represents the wide--and swirling--cultural currents that shape and direct that language. The two, style and fashion, are intimately linked--indeed, architecture cannot escape fashion. To set these ideas in sharp relief, he shows us how style and fashion have been expressed in the work of major architects--including Frank Gehry, Mies van der Rohe, Charles McKim, Allan Greenberg, Robert Venturi, Enrique Norten, and many others. He helps us see their works anew and ultimately to look afresh at our surroundings.

Style is one of the enduring--and endearing--aspects of architecture, Rybczynski concludes. Furthermore, an architecture that recognizes the importance of style would not be as introspective and self-referential as are so many contemporary buildings. It would be part of the world--not architecture for architects, but for the rest of us.

In a brilliant collaboration between writer and subject, the bestselling author of Home and City Life illuminates Frederick Law Olmsted's role as a major cultural figure and a man at the epicenter of nineteenth-century American history.

We know Olmsted through the physical legacy of his stunning landscapes -- among them, New York's Central Park, California's Stanford University campus, Boston's Back Bay Fens, Illinois's Riverside community, Asheville's Biltmore Estate, and Louisville's park system. He was a landscape architect before that profession was founded, designed the first large suburban community in the United States, foresaw the need for national parks, and devised one of the country's first regional plans.

Olmsted's contemporaries knew a man of even more extraordinarily diverse talents. Born in 1822, he traveled to China on a merchant ship at the age of twenty-one. He cofounded The Nation magazine and was an early voice against slavery. He wrote books about the South and about his exploration of the Texas frontier. He managed California's largest gold mine and, during the Civil War, served as general secretary to the United States Sanitary Commission, the precursor of the Red Cross.

Olmsted was both ruthlessly pragmatic and a visionary. To create Central Park, he managed thousands of employees who moved millions of cubic yards of stone and earth and planted over 300,000 trees and shrubs. In laying it out, "we determined to think of no results to be realized in less than forty years," he told his son, Rick. "I have all my life been considering distant effects and always sacrificing immediate success and applause to that of the future." To this day, Olmsted's ideas about people, nature, and society are expressed across the nation -- above all, in his parks, so essential to the civilized life of our cities.

Rybczynski's passion for his subject and his understanding of Olmsted's immense complexity and accomplishments make this book a triumphant work. In A Clearing in the Distance, the story of a great nineteenth-century American becomes an intellectual adventure.

From the opening sentences of his first book on architecture. Home, Witold Rybczynski seduced readers into a new appreciation of the spaces they live in. He also introduced us to "an unerringly lucid writer who knows how to translate architectural ideas into layman's terms" (The Dallas Morning News). Rybczynski's vast knowledge, his sense of wonder, and his elegantly uncluttered prose shine on every page of his latest meditation on the art of building. Looking Around is about architecture as an art of compromise—between beauty and function, aspiration and engineering, builders and clients. It is the story of the Seagram Building in New York and the Wexner Center for the Visual Arts in Columbus, Ohio—a museum that opened without a single painting on view, so that critics could better appreciate its design. But what of the visitors who want a building that displays art well? What of those who work in the building? Looking Around explores the notion of the architect as superstar and assesses giants from Palladio to Michael Graves, styles from classicism to high tech. It demonstrates how architecture actually works—or doesn't—in corporate headquarters, airports, private homes, and the special buildings designed to represent our civilization. For all its erudition, Looking Around is also bracingly straightforward. Rybczynski looks closely and critically at structures that may once have dazzled us with their ostentation and expense, and sees them as triumphs or failures—of aesthetic ideals and of lasting function. This is a fascinating and illuminating book about an art form integral to our lives.

Witold Rybczynski takes us on an extraordinary odyssey as he tells the story of the designing and building of his own house. Rybczynski's project began as a workshed: through a series of "happy accidents," however, the structure gradually evolved into a full-fledged house.

In tracing this evolution, he touches on matters both theoretical and practical, writing on such diverse topics as the distinguished structural descendants of the humble barn, the ritualistic origins of the elements of classical architecture, and the connections between dress and habitation, and between architecture and gastronomy. Rybczynski discusses feng-sui, the ancient Chinese art of locating a home in the landscape, and also considers the theories and work of such architects as Palladio, Le Corbusier, and Frank Lloyd Wright. An eloquent examination of the links between being and building, The Most Beautiful House in the World offers insights into the joys of "installing ourselves in a place, of establishing a spot where it would be safe to dream."

A captivating chronicle of building in modern-day Charleston, making a case for architecture based on historical precedent, local context, and the ability to delight Charleston, South Carolina, which boasts America's first historic district, is known for its palmetto-lined streets and picturesque houses. The Holy City, named for its profusion of churches, exudes an irresistible charm. Award-winning author and cultural critic Witold Rybczynski unfolds a series of stories about a group of youthful architects, builders, and developers based in Charleston: a self-taught home builder, an Air Force pilot, a fledgling architect, and a bluegrass mandolin player. Beginning in the 1980s, this cast of characters, exercising a kind of amateur mastery, produced an eclectic array of buildings inspired by the past-including a domed Byzantine drawing room, a fanciful medieval castle, a restored freedman's cottage, a miniature Palladian villa, and a contemporary Mediterranean street. In his careful profiles of these protagonists and the challenges they have overcome in realizing their dreams, Rybczynski compellingly emphasizes the importance of architecture and urban design on a local level, how an old city can remake itself by invention as well as replication, and the role that individuals still play in transforming the urban landscapes around them.

An essential toolkit for understanding architecture as both art form and the setting for our everyday lives

We spend most of our days and nights in buildings, living and working and sometimes playing. Architecture is both the setting for our everyday lives and a public art form--but it remains mysterious to most of us.
In "How Architecture Works," Witold Rybczynski, one of our best, most stylish critics and the winner of the Vincent Scully Prize for his writing on architecture, answers our most fundamental questions about how good--and not so good--buildings are designed and constructed. Introducing the reader to the rich and varied world of modern architecture, he reveals how architects as diverse as Frank Gehry, Renzo Piano, and Robert A. M. Stern envision and create their designs. He teaches us how to "read" plans, how buildings respond to their settings, and how the smallest detail--of a stair balustrade, for instance--can convey an architect's vision. "How Architecture Works" explains the central elements that make up good building design, ranging from a war memorial in London to an opera house in Saint Petersburg, from the National Museum of African American History and Culture in Washington, D.C., to a famous architect's private retreat in Princeton, New Jersey. It is an enlightening humanist's toolkit for thinking about the built environment and seeing it afresh.
"Architecture, if it is any good, speaks to all of us," Rybczynski writes. This revelatory book is his grand tour of architecture today.

A witty and engaging examination of style in architecture by bestselling author Witold Rybczynski