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Schindler
Schindler House
by
Kathryn Smith (Author)
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Grant Mudford (Photographer)
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Harry N. Abrams (Editor)
The first monograph n Schindler House, the house that architect Rudolph M. Schindler designed and built for himself and his wife and another couple in West Hollywood, California, in 1921-22. The author documents the design and construction of the house, covers life in it (many artists, architects, writers, and others stayed at or lived in the house), and analyses the critical response to the house through its 80-year history.
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Siza
The Architecture of R.M. Schindler
by
Michael Darling (Author)
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Elizabeth A.T. Smith (Author)
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Harry N. Abrams (Editor)
With such masterworks as the Schindler-Chace House and the Lovell Beach House in California, the Vienna-born modernist R. M. Schindler (1887-1953) is recognized as one of the most innovative architects of the 20th century. Nearly 50 years after his death, admiration for his breathtakingly original houses and apartment buildings is at an all-time peak. Containing many never-published drawings and photographs and spanning Schindler's early years in Vienna, his apprenticeship with Frank Lloyd Wright, and his bold contributions to West Coast modernism, this book -- which accompanies the first major Schindler retrospective -- offers the most comprehensive view of his genius to date.
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Soriano
Alvaro Siza: Complete Works
by
Kenneth Frampton (Author)
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Phaidon Press (Editor)
A comprehensive study of the work of Portuguese architect Alvaro Siza, this monograph covers his built works, projects and writings from the early 1950s to 1999. Born in 1933 in Matosinhos, Portugal, Siza is one of the world's most respected architects, and the recipient of many awards including the Alvar Aalto Foundation Gold Medal in 1988 and the US Pritzker Prize in 1992. Writings by Siza complement the monograph which is presented in chronological order.
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OurPrice: $40.82
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Sottsass
Raphael Soriano
by
Wolfgang Wagener (Author)
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Phaidon Press (Editor)
Born in Rhodes, Soriano brought an outsider's perspective when he arrived in Los Angeles with little grasp of English in 1924, at the age of 17. After first studying French literature and music, he graduated with an architecture degree from the University of Southern California and thereafter worked in the offices of Rudolph Schindler and Richard Neutra, and for Los Angeles County, finally starting his own practice in Los Angeles in 1936. Soriano expertly combined two of World War II's technological innovations, aluminium and plywood, with advanced construction processes. His characteristic horizontal roofs, transparent exterior walls, and open plan responded well to the postwar demand for family-friendly housing and an informal, indoor-outdoor lifestyle that was well suited to the benign Southern Californian climate. Independent-minded and often irascible, Soriano's architectural contribution has been largely overlooked until now. An architect's architect, he tapped the burgeoning Southern California aerospace and steel industries for his architectural experiments. His advocacy of prefabricated, modular construction using a minimum of materials often alienated him from the traditional building industry and developers. Moreover, his buildings have suffered inordinate damage; although he designed 150 buildings and built 38 during his career, little more than a dozen projects remain standing. In 1953, weary of his persistent scrapes with the architecture establishment in Southern California, Soriano relocated to Tiburon, near San Francisco, where he designed and built housing for the maverick developer Joseph Eichler, as well as innovative aluminium housing and an office tower, and the IBM Research Laboratory in San Jose. This monograph provides a well-researched written account of the architect's life and oeuvre. It includes a complete biography, an in-depth examination of 30 key Soriano buildings, and a listing of complete works that documents for the first time every known project in Soriano's archive, with bibliographic references. In addition to previously unpublished original plans and drawings, this volume features approximately 160 photographs by renowned architectural photographer Julius Shulman, who was a close friend of Soriano and documented his work over a period of 40 years.
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OurPrice: $19.00
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Studio
Ettore Sottsass: The Architecture and Design of Sottsass Associates
by
Herbert Muschamp (Author)
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A. Branzi (Author)
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Universe (Editor)
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OurPrice: $30.40
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Sullivan
UN Studio: UNFOLD
by
Lidewij Edelkoort (Author)
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Neal Leach (Author)
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Robert Somol (Author)
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Mark Wigley (Author)
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Daniel Birnbaum (Author)
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Aaron Betsky (Author)
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Greg Lynn (Author)
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Ben van Berkel (Author)
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Caroline Bos (Editor)
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Ben van Berkel (Editor)
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NAi Publishers (Editor)
An hour by train north of Rotterdam, Ben van Berkel and Caroline Bos preside over the 45-person UN Studio they founded in 1998. To the tune of one partner's proclamation that "the box is dead," they have spent the intervening years conducting a network of researchers and specialists in architecture, urban development, and infrastructure, whose goal it is to create perceptive projects which seamlessly weld together brief, construction, infrastructure, circulation, form, and space. Their Erasmus Bridge, a sinuous arc of roadway suspended from a single soaring pylon, la Star Wars, has become the icon of a new Rotterdam. Their science center for Carnegie Mellon University, in Pittsburgh, holds itself erect with a Euclidean grid of beams and columns, a structure van Berkel describes as "a sock being pulled back on itself." Following the success of their three-volume publication Move, and in search of new perspectives and concepts, UN Studio presents UNFOLd. Complete with documentation of the firm's most recent projects, UNFOLd takes a critical look at a welter of hitherto unpublished designs, including the restructuring of the station area in Arnhem, the generating station in Innsbrck, the Nuclear Magnetic Resonance laboratory in Utrecht, and the competition-winning design for the Ponte Parodi in Genoa. Draped with an ultra-personal layer, UNFOLd offers an immersion in the firm's design process through texts by Bos, and experiments in association and out-of-the-rut architectural photography.
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OurPrice: $24.00
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Superstudio
Louis Sullivan: Prophet of Modern Architecture (Norton Books for Architects & Designers)
by
Hugh Morrison (Author)
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W. W. Norton & Company (Editor)
This biography provides explanation of Louis Sullivan's importance as an architect. It includes a new introduction which provides corrections to the biographical data in light of six decades of research, and an authoritative revision of the list of buildings that includes information on buildings discovered after the book's initial publication, and details of those subsequently demolished. At beginning of 20th century, Louis Sullivan was virtually alone in championing progressive American architecture. He ferociously condemned the rampant neo-classicism brought on by the Chicago World's Fair of 1893, calling it "an appalling calamity". (The Architectural Traveller). He had one foot in the 19th century, another in the 20th - the Carson Pirie Scott building in Chicago, features a two-storey classical base embellished with cast-iron wreaths and tendrils, while the upper 10 stories are crisply modern, and represent the proto-skyscraper. Sullivan's genius lay in his ability to combine clean modern lines and techniques with the lush decorative flourishes of the nineteenth century.
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Woods
Superstudio: Life without Objects
by
Peter Lang (Author)
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William Menking (Author)
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Skira (Editor)
Founded in Florence in 1966, Superstudio challenged the modernist orthodoxy that architecture and technological advances could improve the world by creating alternative visions of the future in photo-montages, sketches, collages and films. The five members of Superstudio: Cristiano Toraldo di Francia, Gian Piero Frassinelli, Alessandro Magris, Roberto Magris and Adolfo Natalini-were equally pessimistic about politics and its ability to solve mounting social, cultural and environmental problems. This Fall 2003 New York exhibition catalogue, drawn from Superstudio's archive and curated in collaboration with members of the group, will revisit its work and trace its influence on subsequent generations of architects.
Superstudio: Life without Objects collects nearly 200 of the group's most important images, collages, storyboards and critical writings. White monuments crossing over entire landscapes and cities, vast grid groundplanes spreading over infinite beaches populated by wandering hippies: these are some of the more evocative images that consolidated their fame as vanguard architects. In 1972, MoMA invited them to participate in one of the largest exhibitions in its history, built around Italian design and architecture. With essays from Peter Lang and William Menking, the book is designed to provide the reader with the most detailed account of this avant-garde design group and their lively assault on modernism.
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Wright
Lebbeus Woods: Experimental Architecture
by
Karsten Harries (Author)
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Richard Armstrong (Author)
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Lebbeus Woods (Contributor)
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Tracy Myers (Editor)
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Carnegie Museum of Art (Editor)
Considered one of the most innovative experimental architects working today, Lebbeus Woods combines an extraordinary mastery of drawing with a penetrating analysis of architectural and urban form that is fed by his wide knowledge of fields ranging from philosophy to cybernetics. The resulting work is grounded in real-world conditions at the same time as it pushes far beyond the boundaries of conventional architecture; Woods' passionate provocations argue for a critical engagement with the world that opens it to tectonic possibility, not simply bricks-and-mortar resolution. Unlike rather cursory recent treatments of Woods' work, Experimental Architecture provides a variety of contexts for it. Tracey Myers' essay situates Woods within the long tradition of the architectural visionary, defining that term and incorporating an interview with Woods as a way of understanding his seemingly dichotomous sensibility. In his own essay, Woods traces the evolution of his conviction that it is architecture's responsibility to respond to changes that affect the human condition, and that this agility requires not only formal innovation, but the invention of new kinds of space. Karsten Harries examines Woods within the context of a tension he perceives within contemporary culture between the real and the imaginary.
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