1 comments about Architectural Regionalism: Collected Writings on Place, Identity, Modernity, and Tradition.

1. The intent of this volume was to construct a coherent history of the idea of regionalism from its many many supporting texts and ideas. It is an important collection of writing that covers the entire 20th Century intellectual history of Regionalism in Architecture and includes such authors as: Lewis Mumford, Le Corbusier, David Williams, Mary Colter, Pietro Belluschi, Christopher Alexander, Wendell Berry, Kenneth Frampton, Sigfried Giedion, Harwell Hamilton Harris, Richard Ingersoll, Benton MacKaye, John Gaw Meem, Richard Neutra, Paul Ricouer, Alan Colquhoun, Juhani Pallasmaa, among others (44 in all). Further, it considers Regionalism in an international context, particularly the developing world through the writings of Suha Ozkan (Middle East), Balkrishna Doshi (India), and Kenza Boussora (Algeria). In it are provided contextual introductions to each text and an introduction that attempts to place the discourse, as a whole in reasonable framework. The topics include: Regionalist theory, Referential Regionalism (1920s & 30s), Regional Modernism (1930s-1960s), Regional Planning, Bioregionalism, Critical Regionalism, and a set of essays that update and extend the discourse into the future via performativity theory, sustainability, and the socially-critical work of the Rural Studio.

No comments about Verb Crisis.

5 comments about Designing Disney's Theme Parks: The Architecture of Reassurance.

1. This book is a must have for enthusiasts and interested scholars. The book is filled with many pictures, illustrations and original renderings of Disneyland, and the subsequent other parks. The conceptual development of the original Disneyland is the focus of the book that admirably discusses the many details involved in the process. The amazing part for me was the scholarly research and the well written quality of the text. The subject is well examined for the volume of information it covers. It is the first book I have come across that credit's Walt Disney's innovative process of applying stage set design to 3D proportionality using an over-ridding narrative to connect it all. The scholarly research by art historians and architects for the Canadian exhibition is impressive, which is done without the control of the Disney Corporation. The scholarly nature of the book lends a new dimensionality to the understanding of Disneyland as an innovative artistic development, and a new architectural expression.
   Unlike other texts I have read about Disney architecture, this one takes on the subject from the art historical perspective examining the process that creates a new architectural form. Other books seem to veer away from this in favor of the new, celebrated corporate architecture at Disney company headquarters, or on these applications at newer Disney parks. By concentrating on the original development of Disneyland as a concept of Walt Disney's, and his special team of designers, the idea is well established as creating the foundation for everything else that comes after. This difference is insightful, and makes the understanding of the original conceptual design clearer.
   I highly recommend this book for the wealth of information it provides and the good read it is. Even for a seasoned Walt Disney enthusiast, like me, it provides a new awareness of the multi-dimensional qualities of the form created, and it makes a rich addition to the information previously unknown.



2. This book is great! I also want to be a Disney Imagieer. I already designed some cool, new rides. I hope I become an Imagineer! See Ya!



3. This book is amazing. It immediately captured me. It gives valuable insight on the vison of disneys world and on how this vision becomes tangible.

   Not only it talks abou the history of the themeparks but it shows the sketches, maps, plans of different parts and attractions of the disney world. An amazing resource full of phantasy and a joy to watch. The photographs and illustrations are very well chosen and it is a plasure to flip through this pages every once in a while. A very inspiring book, showing that often it is enough to dream it and then it becomes reality.The most peculiar shapes and interior spaces are built to be reality.

   I highly recommend it.




4. Many books on Disney's art and achitecture try to convey its appeal primarily through the visual. Other books, particularly those that whole-heartedly criticize Disney, try to ignore the appeal of Disney altogether. This book attempts to integrate the visual evidence (photos, concept art) with academic writing on Disney (Karal Ann Marling, Erika Doss, Greil Marcus, etc.). Together, these aspects make for a solid inquiry as to the appeal of Disney's architecture.

   The book was written to supplement an art exhibit of the same name and, in many ways, feels a bit incomplete without its exhibition, partly because the book tries to cover a lot of territory in its two hundred or so pages. And a lot of the book's pages are used for the essays. But the essays also provide the readers with another "way of seeing" the imagineers' works, something that other books of this type tend to forgoe for more pictures. The essays are irreplaceable for this book--and many are useful for re-examining other books' materials as well (Try it!).

   Particularly useful for the Disney enthusiast is the criticism of Disney criticism by Greil Marcus. He astutely summarizes much of the current criticism of Disney: "All [the works mentioned earlier in the essay] have their moments of interest and all devolve quickly into a kind of critical voice that can perhaps best be called spite. This is not a good posture from which to practice criticism--an angry defensiveness, a fear that somehow one's faculties or tools of analysis are not up to the job disguised as contempt for the job itself...." What Marcus calls for is a real attempt to understand Disney for what it is and for how it affects people/American culture, something too few critics have done without falling into an either all-good or all-evil knee-jerk reaction. Worse, many critics make no attempt to experience Disney before making up their minds. This essay is an excellent reminder to those critics and a call to action.

   The other essays are interesting and useful, as well. The interview with Frank Gehry seems a bit brief, and perhaps Karal Ann Marling takes too much center stage in the interview (as with the entire book). Still, this book opens the door for an appreciative examination of Disney and one that embraces Disney by attempting a "thick description" of its materiality and appeal. This book will not provide an exhaustive look at Disney's theme parks but it will offer the interested reader materials with which to look at Disney's parks in a new way.




5. It's too bad that so many people who reviewed the book here didn't seem to understand what they were buying and then were disappointed. It's a great book! I was particularly enthralled by the chapters by Greil Marcus and Erika Doss -- but who wouldn't be? Their work always combines the everyday and the academic in such fluid and fun ways. It's clear from the reviews that the folks who rated this 1 or 2 stars simply didn't understand what they were looking at!

No comments about Public Intimacy: Architecture and the Visual Arts (Writing Architecture).

2 comments about European Architecture 1750-1890 (Oxford History of Art).

1. took far too long to recieve the requested item. Was told it would be 1-2 weeks but recieved the item 6 weeks after purchase. this is the last time i will use this seller.



2. this book must be read with Modern Architecture by Oxford in order to understand the history of architecture. This book covers the must needed areas of the field including, the hut to Palladio, and others up until the rise of modernism, where incidently the book Modern Architecture takes over. I recommend this book in concordance to that book and for the architecture student whether for class or not.

5 comments about Architecture Without Architects: A Short Introduction to Non-Pedigreed Architecture.

1. Architecture Without Architects by Bernard Rudofsky demonstrates
   that anonymous builders achieved great form based on function.
   
   Confess right now -- designers, planners, architects!! You don't have
   this book? You don't even know about this book or its author, Bernard
   Rudofsky? Verdict: You are culturally deprived, which means possibly
   professionally challenged. Certainly missing chances for inspiration on the job.
   
   This classic contains a sweeping revelation of universal traditions of
   "vernacular" architecture -- structures and spaces built by untutored hands in
   "primitive" cultures, many now destroyed. Their images remain as amazing
   testaments to ingenious answers to survival issues and creature comforts
   in remote locales which, we see, have considerable sophistication.
   
   Today's higher education for the design professions, focused on formal issues
   of a few recent centuries, may have turned you away from study of remote cultures
   in distant times, viewing vernacular as "inapplicable" in a high-tech world.
   On the contrary, these places and structural events (including whole mountainsides)
   demonstrate the significant human act of building with nature-given materials,
   for human needs and use, with sensitivity to innately purposeful form,
   without a thought about the disruptive gloss of fashion cycles.
   
   Bernard Rudofsky was a brilliant iconoclast and innovator. As a restless architecture
   student in Vienna in 1923, he cut loose to undertake a wanderjahr exploring distant
   places and forgotten world cultures. Backpacking across Europe, Middle East, Asia,
   and Africa, he photographed what he discovered -- indigenous building
   forms and construction methods that created real architecture, unburdened by
   pretensions and formal imitations. He documented solutions that were
   simple and direct, and elegantly ingenious in the interest maklng things work.
   
   Today more than ever, "primitive" construction can amaze and instruct, and inspire
   by addressing ever-present habitation needs -- climate conditioning by controlled air flow,
   light control with roof and wall materials, floor heating, even lifts and elevators,
   all achieved by design strategies unacquainted with modern mechanics
   -- i.e."energy" powered by ingenuity.
   
   In the early 1960's, after his exhibition "Are Clothes Modern?" for New York's MoMA,
   Rudofsky prepared an exhibition on anonymous architecture, broadening his own photo
   documentation with collectors' images from other distant realms, enriching the
   theme of enduring historic form and purpose.
   
   His exhibition "Architecture Without Architects" (1964-65) brought avant-garde insight
   to the expanding horizon of modernist values, demonstrating that vernacular form and
   purpose are indivisible, and usually immutable -- as they are serving their purpose
   to perfection.
   
   In this recapitulation of the exhibition, there are shelters, streets, and functional
   enclosures crafted for the lasting use of whole communities. There are the "found"
   habitations of rocky hillsides, underground villages safely recessed from climate and
   predators; habitable hilltop fortresses, medieval streets lined with shady pedestrian
   arcades; a city of roofs built as "windscoops" to direct breezes into each room; huts
   made of decorative woven matting, some with vegetal roofs; decorative pidgeoncotes
   to facilitate fertilizer production; aerated vermin-proof granaries; streets shaded by
   mats and vines, high structures built of grass.
   
   The know-how of the anonymous builder shown here presents the a major untapped
   source of architectural inspiration for industrial man. The wisdom derived goes beyond
   economic and esthetic solutions that press on our wasteful modern mechanical
   solutions. In the author's words, It touches on the "increasingly troublesome problem of
   how to live and let live, how to keep peace with one's neighbors" while dealing with
   the diminishing natural resources we all must share.
   
   Here is Green Design before it was invented -- again. Here is Civic Design
   and indeed Urban Design when few except Rudofsky recognized it.
   This book of arresting images and informed ideas may stir you to speculate:
   What might simple ingenuity forge for us in our low-energy future?
   
   Jane Thompson
   Thompson Design Group Inc.
   Boston, MA 02210



2. this is a great classic book - a little sad it's all in black and white, sometimes grainy images, but a wonderful view on what existed in 1960s. i'm sure a lot of it has now disappeared.



3. Great book with great pictures and well organized, but all images are only in black and white, and the paperback itself feels flimsy. Thought it was a great present for a friend of mine, but the B/W is quite a let-down.



4. As the author shows, you don't need a degree to build practical beautiful buildings. Just the need and some perseverance can do wonders as shown inside.



5. Originally published in 1964, concurrent with the exhibition Architecture Without Architects shown at MOMA, this slim volume of text and photographs radiates heat and light when reviewed almost forty years later. In fact, Rudofsky's introductory essay is so fresh today it is almost inconceivable it was written the better part of four decades ago! Offering a scathing attack on modern approaches to the landscape and to problems of living more generally in a time of rampant population growth, Rudofsky shrewdly pointed to the fact that "part of our troubles results from the tendency to ascribe to architects-or, for that matter, to all specialists-excessive insight into problems of living when, in truth, most of them are concerned with problems of business and prestige." But what transpires when the focus can be maintained on functionality, efficiency, ease of use, and a design aesthetic that remains humbly in tune with and loyal to the mood and visual imperative of the land under development? To answer these crucial questions Rudofsky takes us back a few thousands of years to the origins of architectural strivings (even preceding man's earliest efforts) and the material results thereof.

   The essential point Rudofsky cares to make in these pages is that "vernacular architecture does not go through fashion cycles. It is nearly immutable, indeed, unimprovable, since it serves its purpose to perfection." Rooted in a practical, harmonious relationship with its setting, 'primitive' architecture exemplifies the art of living well through its consistent use of frugality in construction, cleanliness in line and detail, and a general respect for "creation." Further, its impetus is aligned with a human dimension fundamentally as opposed to an excessively hubristic predisposition to conquer nature at whatever cost. Finally, from Rudofsky's vantage, these principles are usefully to be understood as timeless guidelines for the future as well as descriptions of the past.

   According to Rudofsky, sophisticated people seek rugged country where what is intrinsic holds sway. His search for the origins of a humanistic architecture was always in rugged terrain where people's lives must necessarily challenge the difficulties of topography and the vicissitudes of climate. His primary heuristic interest was in elucidating the solutions creatively and spontaneously generated by these people in order to make such rugged locales inhabitable AND livable. Architecture Without Architects demonstrates the way in which basic solutions to complex problems were developed historically and why those solutions are so important to remain cognisant of today.

2 comments about The Mathematics of the Ideal Villa and Other Essays.

1. Colin Rowe's essays are exceptionally insightful and truly enlightening. These essays were written decades ago but they're still enormously valuable and still very fresh. The first essay, from which the book takes its title and probably Rowe's most famous, is an analysis of the geometrical and proportional similarities between Le Corbusier's villa at Garches and Palladio's Villa Malcontenta. A brief but dense tour de force. Perhaps his next most famous essay is "Transparency: Literal and Phenomenal," written with Robert Slutzky. Also a real eye-opener. In other essays he discusses the curious relationship between the Chicago frame and modern architecture; neo-classicism and modern architecture; mannerism and modern architecture; La Tourette; 19th century thinking about architectural character and composition; and the architecture of utopia. These essays make you think, look at things differently, look at things you hadn't noticed, and they ultimately enlarge your understanding of architecture and your architectural field of vision. I'm grateful to Colin Rowe for that. After reading this book I bought his three-volume collection of essays, "As I Was Saying." I just had to have more. The essays in this book put your mind to work but Rowe's writing is also quite engaging. He's a genuinely independent thinker and a rigorous one too. These are wonderful essays and the book is highly recommended.



2. This collection of essays by Prof. Colin Rowe is considered to be among the most important analytical essays on architecture in this century. Prof. Rowe has won the Gold Medal in Architecture from Queen Elizabeth and was Professor of Architecture at Cornell for over 25 years.

2 comments about Metapolis Dictionary of Advanced Architecture: City, Technology and Society in the Information Age.

1. This book has an interesting thrust behind it; to understand current ideas of urbanism and architecture theory, don't produce a timeless resource; instead, construct an index committed to the moment, that is destined to begin its obsolescence the second it's printed. It's best quality is its cluttered, jumbled design which floods you with imagery and conceptual points of departure.
   
   Sadly, it seems that 2/3rds of architecture education is deliberate obfuscation; people muddying their waters so as to appear deep. Like much of the worst theory, this operates from a "We're so clever, that what we're saying can't be summarized." viewpoint that complicates simple ideas. If you're not into theoretical hair-splitting you're in for a rough time.
   
   The books worst quality is it's fetishing of neologism. For complete annoyance you could look up these idiotic entries: 'benidorm' or 'mmm.' Other one-line entries for epic concepts that don't even offer fundamentals, are so broad as to be useless; look up 'colours!' (Say... that was useless!). No this isn't the book I'd turn to for a deep understanding of color but why include an entry at all?
   
   At it's worst this is a coy, academic in-joke that worships jargon, in an attempt to influence the lexicon. ('delynneate,' get it? Greg Lynn...). At it's best it's an exhilarating look at ideas that may have a shelf-life of decades or a few months, relievedly free of blob worshipping.



2. As an architecture student, I have found this book to be a valuable resource in terms of idea generation and development of design concepts. My professor, who practices architecture and makes use of the book on a professional level, recommended it to my classmates and I - I have used it ever since. Not only does it link terms with architectural concepts developed by well known and celebrated designers, it includes a number of interesting colour images. I highly recommend this to design students and professionals in any field, especially architecture. Happy reading!

No comments about Architecture or Techno-Utopia: Politics after Modernism.

5 comments about Understanding Architecture: Its Elements, History, And Meaning, Second Edition (Icon Editions).

1. This book is one of the seminal readings for architectural history, and the reason is that the contents are well-thought-out, well-researched, and interestingly written.
   That said, shouldn't such a book, one you'll keep a good long time as a reference, come with a binding that doesn't fall apart on the first open? Sumeria and Mesopotamia are ready to leap out of the spine. It's a real travesty and the publisher should be embarassed. I'd have returned it if I didn't need it for a class.
   As for the contents, I'd say that Roth is a great scholar and writer. He's also done or reworked many of the very solid illustrations in the book, and the book is a good read as well as a good reference. You can pick up the thread anywhere and don't necessarily have to read in chronological order. Worth buying a copy (that doesn't fall apart in your hands.)



2. As Marion Dean Ross Professor of Architectural History at the University of Oregon at Eugene, Leland M. Roth summarized his research and experience in "Understanding Architecture: Its Elements, History, And Meaning."
   
   Having done extensive graduate studies in architecture, landscape architecture and urban planning, I always find the history and meaning of architecture, gardens and places fascinating.
   
   "Understanding Architecture: Its Elements, History, And Meaning" is a feast for people like me. It is separated into 2 parts. Part I covers elements of architecture including "Commoditie" (Function), "Firmeness" (Structure), "Delight" (Space, Acoustic and Aesthetic), architecture as part of natural environment, architecture, memory and economics. Part II covers history and meaning of Western architecture from the dawn of the civilization to present, including "from caves to cities," the architecture of Mesopotamia and ancient Egypt, Greek architecture, Roman architecture, Early Christian and Byzantine architecture, Medieval architecture, Renaissance architecture, Baroque and Rococo architecture, the origin and development and versions of Modernism, and various schools of Postmodernism.
   
   "Understanding Architecture: Its Elements, History, And Meaning" has 652 pages and many line drawings and good interior black-and-white photos. It is a valuable survey of Western architecture from the dawn of the civilization to present.



3. Excellent text of architectural history, with good information and explanations of each style in cronological order and lots of sections on examples and masters of each epoch. Lots of pictures of plans and sections! I only wish I had had it for the assignments I had to do last semester! I do wish it had more color fotos instead of black and white. Like all architecture books, it's a little too expensive, but reasonable for the comparatives I found localy. Excellent book, Highly recommended for architecture students and enthusiasts alike.



4. I'm a college instructor for beginning level Architecture Appreciation, and the Leland Roth book is an excellent choice to use for such a class. It is concise, informative and for the students, easy to read. Also, for their purposes, because the book is mostly black and white, it is rather cost efficient in an age of over-priced rip-off textbooks. The only problem with the book is that it can really stand to be updated. There is no chapter about Decontructivism or anything that followed, and the book ends with Mario Botta in 1993, which these days is antiquity already. Roth must know that his book is a gold standard for such a class. Knowing this, it is imperative that he revise it soon. it's too good of a product to stop 12 years ago.



5. This is a very well written approach to the understanding of Architecture and Urbanism. In the first half of the book, Roth analyzes the basic concepts or "elements" that conform today's Architecture. The second half of this clear and readable text is dedicated to the investigation of the history and significance of Architecture. These enjoyable and didactic thirteen chapters are an excellent starting point for a journey into past and present Architecture