This revealing memoir by Aldo Rossi (1937–1997), one of the most visible and controversial figures ever on the international architecture scene, intermingles discussions of Rossi’s architectural projects—including the major literary and artistic influences on his work—with his personal history. Drawn from notebooks Rossi kept beginning in 1971, these ruminations and reflections range from his obsession with theater to his concept of architecture as ritual.
For more than half the nation’s history, vast mental hospitals were a prominent feature of the American landscape. From the mid-nineteenth century to the early twentieth, over 250 institutions for the insane were built throughout the United States; by 1948, they housed more than a half million patients. The blueprint for these hospitals was set by Pennsylvania hospital superintendant Thomas Story Kirkbride: a central administration building flanked symmetrically by pavilions and surrounded by lavish grounds with pastoral vistas.
When Charles-Édouard Jeanneret reinvented himself as Le Corbusier in Paris, he also carefully reinvented the first thirty years of his life by highlighting some events and hiding others. As he explained in a letter: "Le Corbusier is a pseudonym. Le Corbusier creates architecture recklessly. He pursues disinterested ideas; he does not wish to compromise himself.... He is an entity free of the burdens of carnality."
Buckminster Fuller's fame reached its peak in the 1960s and 1970s, when his visionary experiments struck a chord with the counterculture and his charismatic personality provided the media with a good story—that of a genius who could play the role of artist, scientist, and entrepreneur all at once. In Becoming Bucky Fuller, Loretta Lorance shows that Fuller's career did not begin with the lofty goals hailed by his admirers, and that, in fact, Fuller's image as guru and prophet was as carefully constructed as a geodesic dome.
Architectural Graphic Standards by Charles George Ramsey and Harold Reeve Sleeper, first published in 1932 (and now in its eleventh edition), is a definitive technical reference for architects—the one book that every architect needs to own. The authors, one a draftsman and the other an architect, created a graphic compilation of standards that amounted to an index of the combined knowledge of their profession.
Architecture, at least since the beginning of the twentieth century, has suspended historical references in favor of universalized abstraction. In the decades after the Second World War, when architectural historians began to assess the legacy of the avant-gardes in order to construct a coherent narrative of modernism’s development, they were inevitably influenced by contemporary concerns.
Today's dominant fast-food franchises spend millions to persuade us that they do it all for us, that we can have it our way. White Tower, the pioneering hamburger chain founded in 1926, never felt the need for this kind of advertising; it depended on its instantly recognizable building to say it all.
This is the legendary travel diary that the twenty-four-year-old Charles-Édouard Jeanneret (Le Corbusier) kept during his formative journey through Southern, Central, and Eastern Europe in 1911. In a flood of highly personal impressions and visual notations, it records his first contact with the vernacular architecture that would preoccupy him for the rest of his life and his first sight of the monuments he most admired: the mosque complexes, the Acropolis, and the Parthenon.
A. J. Downing (1815-1852) wrote the first American treatise on landscape gardening. As editor of the Horticulturist and the country's leading practitioner and author, he promoted a national style of landscape gardening that broke away from European precedents and standards. Like other writers and artists, Downing responded to the intensifying demand in the nineteenth century for a recognizably American cultural expression.
In Nothing Less than Literal, Mark Linder shows how minimalist art of the 1960s was infiltrated by architecture, resulting in a reconfiguration of the disciplines of both art and architecture. Linder traces the exchange of concepts and techniques between architecture and art through a reading of the work of critics Clement Greenberg, Colin Rowe, Michael Fried, and the artist-writer Robert Smithson, and then locates a recuperation of "the architecture of minimalism" in the contemporary work of John Hejduk and Frank Gehry.