5 comments about Villa.

1. This is unquestionably the finest interior decorating book of 2009 and because it shows the process of renovating a run down Santa Barbara home of great potential, a great book on architectural preservation as well. It provides a thorough and easily understood commentary about the process of planning and executing the design of a gorgeous villa looking out on the sea, including line drawings on translucent sheets, much like blueprints, but primarily utilizing brilliant before and after photos, room by room.
   
   Is an entire book about a single home really reasonable? It was done fairly well by John Stefanidis and a little less well by Bunny Williams, but John Saladino has outdone them all. Just as you could always tell a room by David Mlinaric, Mario Butta, Renzo Mongiardino or David Hicks, Saladino has a signature design style, unlike other decorators such as Billy Baldwin, Sister Parrish or Mark Hampton who were consistent principally in their emphasis on comfort and classicism. Some might have differing opinions regarding this latter group, of course, but Saladino loves classic authenticity combined with modern functionality and certainly achieves an excellent balance here.
   
   Importantly, this project permitted Saladino to achieve the zenith of his own particular style of Mediterranean-influence classicism, in no small part due to not having to get client approval for any element of his masterpiece. I suspect his banker was the only one he had to answer to; this is the dream home for anyone seeking the Montecito lifestyle. And so much more tasteful than the vast majority of the McMansions completed pre-2008 in Greenwich or the Hamptons by guys selling bonds or exploiting Bolivian miners while their trophy wives argued over fabric swatches.
   
   The only reviewer on these pages who gave the book less than five stars complained about how in this age of digital photography, large format shots are no longer available. Excuse me? Razor sharp images with perfect color reproduction across the photo in a format 13 inches high by 26 inches wide are not up to snuff? I have never seen photography at this level in any book on interiors in forty-plus years of looking. You feel as if you are walking into the room or up the stairs or into the garden. Robert Stern's books come close, but it's all about the house, not the interiors, and too many of his residential projects are frankly boring.
   
   One hardly needs to add the twelfth five-star review of this book, but I offer it to be sure that no one with any interest in design will miss it. THE decorating book of this year . . . or any other year, for that matter.



2. I saw this book on a coffee table in one of my design magazines.
   I was so excited I imediately looked on Amazon and there it was,
   at a discounted price. Now it is at my home,on my coffee table.
   I have thoroughly enjoyed it...he uses muted colors that are so
   relaxing. His design is never overdone, always timeless. The
   DVD, included with the book, is well done also. I would love to
   visit..if he ever opens his house for a tour fundraiser..I would
   definately buy the ticket!



3. When the songwriter and singer Curtis Mayfield was at a low point in his career, he made sure he went to the movies every day. Why? "It's important to dream," he said.
   
   Wise man. The "reality" we're sold in the media can't possibly define the limits of our lives. To think so is to invite despair. So we look for beauty, for inspiration. But when we find it in museums, in music or in books, it doesn't always speak to us --- it's not immediate enough, we don't have the vocabulary to process it.
   
   A beautiful house? That we can understand. We may not get the subtleties of the architecture or the décor, but we all have walls, windows, floors and furniture --- comparisons are inevitable and immediate.
   
   If you're going to look at a home of a professional, you can't go wrong with John Saladino, America's most gifted architectural designer. (Not "interior" designer --- Saladino has a large, holistic sense of what a house can be, and that very much includes its site.) In 2001, he bought a 2,500-square-foot villa near Santa Barbara that was well on its way to ruin. Four years later, it is a treasure and then some --- it's simply one of the most beautiful houses in the world.
   
   And now it's the subject of a dream of a book.
   
   Villa is 13.5 inches square. It contains an informative and chatty commentary by Saladino, 256 photographs, plans and drawings, and a DVD that gives you a tour of the house and property. Let us hope that Saladino has a state-of-the-art security system, because every page and image is an invitation for you to break in --- not to take anything, just to experience what it's like to walk in beauty.
   
   "Reality is the enemy," Saladino writes, and so he created an environment that might look natural, but is really sculpted. (The project, he says, was "75% construction, 25% decoration".) Set on a hilltop overlooking the Pacific, he first had to shore up the land, so his creation wouldn't go sliding off its moorings in a landslide. Then he had to attack decades of unfortunate decorating choices.
   
   It took six men a year to sandblast the paint off the stone walls. Terra cotta tiles had to be hand-stained, so they wouldn't look like plastic flooring. Beams were hand-stripped. An amusing touch: Saladino asked the workmen to have a few beers before they started to sand the dining room walls --- he didn't want perfection.
   
   This was a giant construction product, with as many as 40 workers on site each day. The transformation took four years --- twice as long as Saladino had predicted --- and cost three times more than he'd budgeted. "I did make it to dry land," he writes, "but only by the hair of my chinny-chin-chin."
   
   Saladino's design truths can be applied to smaller houses --- and smaller budgets. Among them:
   
   "Every home should be a sanctuary: entering it you should immediately feel physically and emotionally protected."
   
   "The most important thing about color is that it cannot be isolated --- every color is only ever seen in juxtaposition with other ones."
   
   "Any fragments from the past, especially those that you can touch, connect you to the makers of those pieces, making you aware that we are threads in a great tapestry of time."
   
   "Make the largest piece of furniture in the room the same color as either the floor or the walls so its bulk doesn't intrude."
   
   This is not stuffy advice. But then the house, for all its beauty, is strikingly relaxed. And there are a few well-placed jokes. On a statue of Sir Francis Drake, arguably the first Englishman to see the California coast, he set a pair of dark sunglasses. And, to puncture any air of self-importance, he named the retreat Villa di Lemma.
   
   There is no dilemma, of course. In his California home, John Saladino solved every design and decorating problem. The only unhappiness he created is on your coffee table --- all your other books will be wildly jealous of "Villa".



4. I am thrilled with this book! It has stunning photographer and interesting commentary by the author by Saladino himself. The CD that is in the back of the book is a film traveling up the long driveway to give you a feel for the setting and features gorgeous cinematography of the exterior and interior as well. A bit pretentiously presented but anyone who enjoys the restoration of an old home complete with furnishings and art with eat this up. I still peruse through this one though I bought it months ago. A great coffee table book!!
   
   Dwayne



5. Villa
   
   As other readers have noted, this is an attractive book depicting a beautiful property. My comments relate to the things I would like to have known before buying this rather expensive book.
   
   First, there is an excess of outdoor scenes. The garden and surrounding flora, while nice enough, did not seem so remarkable or spectacular as to justify the approximately 95 photos devoted to them.
   
   Second, I would like to have seen more full-room views of the villa's interior. Apparently the demise of the traditional large-format view camera in favor of digital technology has made the eye-popping interior vista a thing of the past. Most of the interior photos were chopped up views of the rooms and small vignettes. Nevertheless, there are some very nice photos.
   
   Third, the villa was apparently smaller than I had hoped as there are not that many rooms shown. In my opinion, the interiors were DC (Designer Correct) and understated to avoid criticism for any possible form of excess. Nothing to really complain about, but nothing to write home about either.
   
   Fourth, the artsy quality of the DVD was overdone (eyeball-distorting selective focus and lots of infra-red.) The sound balance was poor...when adjusted to listen to the narrator the volume of the background music was ear-splitting. Finally, the DVD content was disappointingly about 90 percent outdoor landscape/10 percent villa interior.
   
   The book probably rates 3.5 stars but that option is not offered. It is a nice book but, primarily because it featured trees and bushes more than the villa, it did not merit 4 or 5 stars in this reader's opinion.
   
   

5 comments about Lost Plantations of the South.

1. Prepare to be shocked. This book and the lost houses it records are hauntingly beautiful. The effect of the presentation is both blissful and profoundly saddening.
   
   I usually avoid books like this because they upset me. I hate being shown what we could have had, with more care, more insight, more money, more intelligence. This book upsets me as well, but that's what it's intended to do.
   
   The quality of the work--the photography, graphics and writing--is top shelf. This is no haphazardly assembled set of archives: It's a beautifully rendered contemplation on the history and fate of stolen art.
   
   The book is intended for any interested reader, but its style is not casual. Neither a photo essay nor a "coffee table" book, the author gives the work intentional academic gravity that could put off a casual reader, but will make architectural historians rejoice.



2. As a fan of historical architecture I love reading about old houses. This was a very good book, with lots a facts about different plantations. My only complaint would have been a little less facts, and a little more human interest(about the people who lived there) and maybe more pictures of the homes. Every old home has a story, it just has to be told. :)



3. This book is a wonderful record of the once magnificent edifices that have been lost through the years. It is a great work to preserve at least what is known and remains of these architectural treasures. Clearly it is not definitive, nor was is likely intended to be. As a fellow architectural researcher, I know that it is difficult to obtain materials that are suitable for publication showing every single worthy structure. However, what is included here shows information and illustrations that have not been widely published heretofore. I love this book. It is beautifully designed and is a welcome addition to my library which is already chock a block with volumes on this subject.



4. This is an outstanding book. It is both stunningly beautiful and exceptionally well researched and written. The rare photographs are haunting and absolutely breathtaking. But unlike many books in this genre, there is a substantial amount of real history to go behind the beautiful pictures. I thoroughly enjoyed reading about the plantation families and the slaves who lived on these estates. I relished the tales of Lucy Holcombe Pickens whose jaunts to Russia brought her much favor with the Czar and Cazrina, and Choctaw Chief Greenwood LeFleur who built a most impressive mansion called Malmaison. The tragic and hilarious history of Goat Castle and its insane inhabitants was wonderful, as were all of the other narratives. Dr. Marc Matrana does a great job of covering the history of lost plantations in every Southern state and provides strong and fresh ideas about preservation that can be utilized today. I hope this author will keep his great books coming!



5. I had high hopes when I heard of this tome. As someone interested in Southern Architecture, the long overdue creation and publication of a book on the lost plantations of the South met my ears with interest. I am not completely disappointed in Marc Matrana's work; it is simply too brief and uneven in coverage, often lacking in illustrations. While Texas has eight plantations in the book, Alabama has only three represented. Arkansas, although not well established in the antebellum plantation economy, just has three plantations listed with nary an illustration. Tennessee and Kentucky contain merely one plantation apiece. I realize that there can never be a comprehensive history of all the lost plantations in the South; however, more research could have doubled the number of houses found in those states. Matrana possibly knows the brevity of his book; he included a large bibliography at the conclusion of the book and suggested reading lists in the chapters. There is also a note to the reader alluding to the fact that this is not a definitive book on the subject. This is a good overview on the subject and is still a worthwhile purchase.

5 comments about Art of The Stonemason.

1. Finally a book that really tells you something and gives you instructions. Very happy with this one.



2. The book arrived in excellent condition. I have found the information within it to be very useful with things I already knew and great information on things I did not.



3. While a good review of proper stoneworking, I felt that the author put too much "art" into this book and not enough science. There are some very nice ideas for building with stone, but this is not a book I would recommend for someone just starting out.



4. How many other beautiful mediums are as long-lasting as stone. For man, it is as close as one may come to the eternal. This is a wonderful book by a master stonemason. The diaghrams and advice are helpful and wise. I recommend it to everyone who would ply their hands to work in stone no matter what level of expertise they already have.



5. I thought this book was really put together good. It has step by step and detailed instructions on how to build stone walls. If you are looking to do stone work I suggest buying this book.

4 comments about A House in Fez: Building a Life in the Ancient Heart of Morocco.

1. Suzanna Clarke's memoir entitled A House in Fez: Building A Life in the Ancient Heart of Morocco, is not just the story of her restoring a three hundred year old house. I found her tale to be a delightful and insightful book about everything and everyone that is Morocco. The book is a very engaging introductory to Morocco's culture, complete with a magical blend of tidbits on the people, the place, and of times past, present and future. You will learn about the loveable people who are humorous, giving, and helpful, yet often frustrating when assisting Suzanna with her plan. The pace of Morocco as in most of the Middle East, is a tad slower than of the western world, every little project and chore can take a very long time to accomplish all at the will of Allah.
   
   Suzanna and her husband Sandy, native New Zealander's, had traveled to Morocco a few times for vacation. They fell in love with this quaint and historic corner of the world and decided they wanted to buy a second home there. Traveling back and forth between countries, they soon found a gorgeous, yet run down, three century old riad, (a traditional Morocco house with central fountain enclosed courtyard) that they just had to have, even though they realized this would be the biggest challenge of their lives. Restoring an ancient house of this historic caliber is not cheap. They knew it would drain their budgets, and that the task would take a lot of their time. They are both busy journalists and this monumental project would take creative juggling of their careers.
   
   From the time of purchase, Suzanna tells us her story of how difficult it was to find and deal with merchants and building contractors, how her blood pressure sky-rocketed with every time she needed to obtain permits from insane city officials, endless red-tape, how her patience was challenged every day with upsets, disappointments, lazy and carefree employees, and expensive fixes. Not to mention the drain on her marriage, as her and Sandy often had to alternate who would remain in Morocco as the other would fly home to keep the coffers full enough to pay for the new House in Fez.
   
   Although at times I felt there was just a little too much detailed description of the day-to-day construction work, it was worth reading to learn of the history of Moroccan architecture, and of the city of Fez itself. Interspersed with the "house story" are many wonderful surprises of Suzanna's exploration of the city as she bit-by-bit learned of it's heritage, culture and residents. While turning the pages you hear their music, witness a celebration where Syrian whirling dirvishes swirl into dizzying white clouds, smell the aromatic spices in the souk, and taste the mouth-watering dishes of lamb tagines and couscous as they are concocted over open fire pits along the winding back alleyways, or on balconies by women of the veil.
   
   Suzanna presents a light and easy read with this book, retelling her adventure of creating a magnificent authentic riad home, and in this process, gained a multitude of new Moroccan friends that become her new family. Humorous, educational, heartwarming, this book is a fabulous mixture of travel narrative and a story of rebirth and renewal for both Suzanna and Sandy, and also for the House in Fez!



2. I enjoyed this book much more than I did "The Caliph's House" - another tome about Moroccan home restoration. Here the author goes into more detail about restoring her ancient home, and also treats the Moroccans with more respect and appreciation. She is a clever, engaging writer and I really could not put this book down. I also appreciated the color photo spread included in the book. A very enjoyable book - you'll be charmed!



3. i was very pleased with this book.
   Suzanna Clarke and her husband bought a house in the medina of Fez and this is the story of the renovation project and those involved- architects, workmen, bureaucrats and neighbors.
   she gives us her experiences with a freshness that will charm even those who know the country well. although she had little prior knowledge of morocco, there are only afew errors (some details about Islam-ramadan, cats).
   the book that "A House In Fez" most resembles is Peter Mayne's "A Year in Marrakesh" (also titled "The Alleys of Marrakesh") A Year in Marrakesh, especially for its light tone (no long lectures on history, politics or architecture here).
   Peter Mayne was injured in an attack on a cafe in the events leading up to Morocco's independence (1956) and he only wrote the one book (in print!) about this country. We can only hope that the author and her husband, Sandy McCutcheon, also a writer, will enjoy many years of residence and give us updates, not only in their popular blog, but also with future books.



4. I have lived in and visited the Muslim world for almost 20 years now and enjoyed every bit of this book. It really captured how wonderful the people can be, and yet how frustrating things can also be...for those who are still on "Western" time. From being concerned about overpaying, to trusting your neighbors, to the "fun" of trying to work with "City Hall"...the book is spot on. But not to dwell on the difficult times, but the author also dives into the warmth of the local people, which is the best part of the book to me.

2 comments about Case Study Houses (Taschen 25th Anniversary Special Editions).

1. A sumptuous visual record of this southern Californian house design program. Original published by Taschen in a jumbo edition. This reprint celebrates their twenty-fifth publishing anniversary and it's slightly smaller than the original book but still beautifully printed with English, German and French text.
   
   Each of the thirty-six houses is covered in the same way with:
   1 A short introduction by editor Smith
   2 The relevant editorial copy from Arts & Architecture magazine about the house.
   3 Photos, plans, diagrams and illustrations. Plenty of the photos are by the brilliant Jules Shulman.
   4 Contemporary color photos of some houses.
   
   Some of houses only have a spread or two (the unbuilt ones) while others have several spreads, Pierre Koenig's famous Stahl House (#22) has twenty pages. I have given book only four stars because it is not as complete as it should be, the focus is really a visual history of the Study Houses and that's it! What is missing is any historical and contemporary background and surely the reason the whole project was important was the influence it had on other architects, house builders, planners, the public and manufactures.
   
   To get a perspective you will have to get Elizabeth Smith's earlier book Blueprints for Modern Living: History and Legacy of the Case Study Houses, published in conjunction with an exhibition in Los Angeles in 1989-1990. As the sub-title to the book says: 'History and Legacy of the Case Study Houses'. I found this a marvelous book though there are only forty-two pages of text and photos on the actual houses the rest of the 256 pages place them in the context of Californian living and mid-fifties American architecture.
   
   *** I have done a Listmania on books about Case Study Houses.
   
   



2. I had been ogling the super-deluxe edition of this hefty book, and was very pleased to find that the "bargain" edition was as lovely as the deluxe edition - without needing a weight belt to lift it. (I accidentally ordered two copies and it came with a "Caution! Heavy!" label.) I am so pleased with the book as a gift for my spouse that I'm keeping the accidental second copy for a gift for another MCM fan who I know will love it.
   Great illustrations - photos, sketches, diagrams - includes lots of interesting bits about the thinking behind the design. Lots of ideas too for built-ins as well as showcasing popular MCM furniture.
   The only downside of this edition is that the print is a bit small - but being able to actually fit it on a bookshelf is a really nice trade off.
   If you love MCM, this is a must-have for your collection.

5 comments about Creating a New Old House (American Institute Architects).

1. My husband and I recently built a new old house...We were shooting for an 1830 half cape that looked as though it had been remodeled in 1860. We started with some good plans, and then went to work on the 'little stuff'. I found myself flagging page after page to show our contractor. The success of a reproduction is in the tiny details. Add them all up and you get a new house that looks old. (this window trim, this bathroom sink, this eave trim, this mantle, etc.) This book was one of our two favorite sources of ideas. The chapters were broken up into various house styles. Not all of them were applicable to us, but there were plenty that were.



2. Very beautiful book, well written, and satisfied my yearning for old houses. I am restroring a 1960 Cape and I was able to cull many ideas from this book. Highly recommend this book, and the photography and room settings are great!



3. My husband and I are thinking about building a colonial revival home. I was hoping this book would give more examples of what it really takes to make a new house old. What I found was that there was one BRIEF example of each different architectual style with a very general description. There wasn't much to sink our teeth into. The pictures were pretty, but
   the information was too general.



4. My husband and I are just beginning the process of building a custom home, and this book has been a wonderful resource for me. It is helping me to learn what it is that makes an old home feel so established, and how to achieve the same permanence in a new structure. The photos are gorgeous, and the accompanying text is useful (unlike the frou-frou text of many home design books). If you don't mind that all of the homes were clearly built with extravagant budgets, this book provides fodder for beautiful fantasies...and some nuggets for inclusion in a more modest home, as well.



5. Great book on how to update older or run down homes. The pictures are beautiful. It is a book on fine taste in home building.

5 comments about Measure and Construction of the Japanese House.

1. The book, taken from the larger volume "The Japanese House: A Tradition for Contemporary Architecture", describes exhaustively how the traditional Japanese house is built.
   Every topic from plan layout down to shoji or tokonoma proportions is covered in detail, with amazing technical drawings and lot of examples: you will be able to build your own Japanese house, from foundation stones to the top of the roof.
   Particularly interesting are the schemes of joints needed for every part of the house, and the continuos focus on some particular features like modular order, flexibility or standardization.
   If you are not used to technical drawings the book may appear a bit complex, since there are no photos illustrating the building, but everything is very well done.
   I recommend this book to everyone with a strong technical interest on Japanese traditional buildings.



2. This book was a gift for my architect son, and I haven't heard any complaints out of him.



3. This great book shows the thought process and technique behind traditional Japanese architecture. Whether you are an architect or simply have an interest in the fine details of this process, this book is one of the best. It is filled with over 56 b/w designs, floor plans, joinery and schematics. As this style of building requires a dedicated apprenticeship, people should not necessarily view it as a "how-to" book, even though it does explain the process in fine detail.
   
   There is excellent coverage of measurement, and I especially like the detailed section on tatami layout. The wealth of floor plans alone justify the purchase. There is also 4-pages worth of b/w scrolls, depicting a palace layout (and one frame displaying some high quality calligraphy), and the "architect's scroll" which shows a fairly comprehensive collections of joints. There are numerous joints shown throughout the book, and together with "The Complete Japanese Joinery" and The Art of Japanese Joinery" anyone interested in this subject should be set.
   
   The book describes what the Japanese house is and how it is built. The author argues that the traditional Japanese house seems better suited as a pattern for contemporary housing than any other residential architecture form. He bases this argument of the following distinctive features:
   
   -modular order of system and form
   -flexibility of space partition and room function
   -compository potential of tatami mats
   -expressive diversity within comprehensive standardization
   -integrartive qualities of Japanese design
   
   The book presents considerations of the form, system, and detail of space layout, the dimensions and measurements, and how the various components are combined. The book is great for anyone with an appreciation for this form, but the author seems to have clearly geared it towards architects, whom he challenges to explore this form for integration into modern design.
   
   There are few books that cover the process like this, and I highly recommend it. Be sure to Look inside and check out the table of contents to make sure it is what you are looking for, as this is a technical book that is not for everyone.



4. I am a professor and I use this book to introduce beginning architecture students to working with a grid system and putting a beautiful space together. It is actually an excerpt from a very old and hard to find volume, which I have seen and I would have to say that this volume does a great job of taking the essentials of how to design and construct a Japanese structure and making it extremely affordable. There are lots of scaled drawings and diagrams, but no pictures (the bulk of Engels' research and work was done a lifetime ago). Great reference book, but not a glossy coffee table book.



5. When I ordered this book, I was expecting to see a lot of pictures to help me design my house. But to my dismay, most of the colorless pages just feature blueprints that only an architect would understand. I kept the book for future reference.

5 comments about The Elements of Style: An Encyclopedia of Domestic Architectural Detail.

1. This book is a wonderful reference guide that includes everything from architectural elements to interior decor. This is an invaluable reference as it not only has hundreds of high-quality color photos, but has many elements in the form of line drawings.



2. This book is an invaluable resource for restoration work and new construction, where clients want something that 'authentic' to a particular era.



3. This book contains many beautiful pictures, which are key to defining period style furniture adn architecture. The chapters are clearly defined and arranged in a logical, easy to use manner. It is a must for anyone seeking a career in Historical Preservation.



4. i am taking this oppurtunity to let you know that i never recieved this book. i have emailed amazon several times but have heard nothing back, maybe you can help me
   thank you
   
   john robinson



5. Great historical reference book detailing period styles of everything from windows to fireplace mantels. Lots of photos - many of them in color. Also includes useful drawings. I found this book to be EXTREMELY helpful, and I reference it often; worth every penny!

3 comments about The Future of the Past: A Conservation Ethic for Architecture, Urbanism, and Historic Preservation.

1. Our cities have many problems, of course, but architect Steven W. Semes, who looks carefully at urban buildings and urban growth, sees the particular problems of preservation. He has detailed the history of those problems, the philosophies of their solution, and his own proposals for respectful progress in a beautifully illustrated book, _The Future of the Past: A Conservation Ethic for Architecture, Urbanism, and Historic Preservation_ (Norton). The great difficulty is that old buildings fall down or fall to desuetude, and are continually replaced by new ones, resulting in clashes of style. Semes, in a comprehensive historical text, shows that this is nothing new; Andrea Palladio himself in 1545 repudiated the Gothic style by cladding the medieval town hall of Venice with classical stone columns and sculpture. It looks all in place to us now after all these centuries, but no length of time will make Semes's examples of modernist buildings imposed among older ones look fitting. It is the modernist imposition that Semes is trying to explain and oppose, although he repeatedly explains that he admires modernist buildings in their place: "This book is not an argument against modernism or in favor of classicism; rather, it is an argument for _continuity and wholeness_ regardless of style." For those of us who are not architects, this might seem a tiny and particularized dispute, but not only is Semes's argument convincing, it convinces the reader of the importance of the issue to the well-being of our cities.
   
   Historical buildings, Semes demonstrates, can be thought of as documents of a time which have esthetic interest but little relevance to how buildings are now designed; or they can be considered living entities that can gradually be adapted for contemporary use while also providing examples for contemporary design. He proposes that a common ethic unite the "now disparate fields of architecture, urbanism, and historic preservation." The essential reason he is urging a change in attitude is the century-long break of the Modern Movement, modernism that with "breathtaking speed and thoroughness" took over architectural practice, academics, and construction. There are beautiful modernist buildings, Semes agrees, but modernism deliberately rejects history and reverses principles of traditional architecture. Sensibly, he proposes "that the proper place for new modernist buildings is with other modernist buildings, not as interventions within historic districts." There are different philosophies of how to bring new buildings into old. One which has been used for centuries is simply to replicate a building; copying a nearby building means inherently that the copy will fit the style around it, though Semes shows how this is to be done sensibly without infringing on the character of the original. Another way is to stay within an older style but invent within it. The Louvre and the United States Capitol were both originally old buildings that have been repeatedly added to sensitively because the architects kept to the ideas (not necessarily the measurements or the materials) of the original buildings. Less successful are new buildings that make references to their neighbors, by quoting a detail or by assuming identical proportions without assuming their style itself. Worst is the new building that deliberately opposes its older neighbors. On the cover of Semes's book is a picture of the expanded Soldier Field in Chicago, showing the original classic Doric colonnade now dwarfed by the extended bleachers above them, as if it is being crushed by a huge flying saucer. The modern addition resulted in the original building losing its listing in the National Register of Historic Places. Semes also condemns the preservationists who think they are victorious when a façade of a building is preserved while the inside is gutted for contemporary use. Not only does this stress the superficial elements of historic architecture (Semes calls it "a crude form of architectural taxidermy"), but it represents "a narrow focus of preservationists on material fabric in disregard of a building's formal design, structural integrity, use, interior space, or urban context."
   
   By the time one gets to the end of the book, the examples of "façadism" or the rectangular metal-and-glass structures abutting classical ones (and there are many examples in photographs here) look truly horrifying. Semes takes care, though, to present counter-examples, additions and new buildings that take into account what has gone before and what exists around them, good-looking places that promote neighborliness. The illustrations in this handsome book go a long way to show how correct Semes's argument is, and how ugly can be the results of disregarding the past or insisting that contemporary architecture must be pure and untainted by previous styles. Semes shows that modernism is not the only modern style. The technical aspects of his argument need to be understood and followed by professional architects and preservationists; most of the lay public, which likes old buildings and neighborhoods, is already on Semes's side.



2. Several generations of architects, now in practice, have been inculcated with a modernist perspective on new architecture, that builds an intellectual wall against the 5,000 years history of all the architecture that came before. It also builds a wall against the architectural common sense of the average person...the user of the built environment. Here finally, is an antidote to the prevailing orthodoxy of the modernist academy. Ordinary untrained people feel that there's something wrong when confronted by the typical reductionist, and often wildly abstract approach to the most practical of the arts. They are right. Citizens yearn for order, comprehensibility, and beauty to return to their buildings, and in general, to their built environment.
   
   This book is a careful evaluation of our contemporary architectural plight, and is worth careful consideration by academics, practitioners and citizens alike. Steven Semes book explicates the reasons for our discontent, with good examples and telling photographs.



3. The Future of the Past: A Conservation Ethic for Architecture, Urbanism and Historic Preservation offers a fine re-examination of modern historic preservation theory and practice in light of developments in the field - including new traditional design practice among modern architects and urban designers. Here a comprehensive, well-written argument for 'new traditional' architecture that continues the design of historic buildings provides college-level collections strong in architectural theory with a powerful discussion.

2 comments about Historic Preservation: An Introduction to Its History, Principles, and Practice (Second Edition).

1. Libraries strong in architecture and historic preservation will find the second updated edition of HISTORIC PRESERVATION a winner. It traces what began as a grassroots movement and evolved into a 'green' architecture and sustainability movement today, using layman's language to trace the philosophy of preservation and introducing the ideas for students, preservationists and community leaders alike. College-level libraries will find it a winner.



2. 
   Anyone who seeks knowledge from a text book expects a structured course of solid detail. But sometimes the organization of a course can begin as a meandering stream only to become an untamable river. Given how broad historic preservation can be, thankfully the 2009 edition of Historic Preservation by Norman Tyler flows so simply in presentation and is a pleasure to swim through.
   
   Mr. Tyler's introduction to historic preservation is a quick review of the earliest motivations to preserve. Presenting the classically conflicted ideas of John Ruskin and Viollet le Duc prepares the reader to digest some of the more nonchalant approaches to preservation. Once surveyed, Tyler quickly turns to equipping us with all the content and contextual knowledge to recognize the depths of the built environment. A chronological explanation of the major architectural styles along with simple line illustrations helps to focus the reader's interest in a concise way. This historic architectural reference is integrated directly into the ethical basis of why and the legal backbone of how preservation legislation has evolved. Thus, the important emphasis on an asset's significance and integrity is well examined and driven home
   
   Once past the shallows of basic knowledge Mr. Tyler circles back to examine the intricate sees of historic individual and district designations. This expands into the reasoning behind municipal land use law and it's application. It is now time to load up on the tools and techniques of modern preservation. Simplifying the different approaches in rehabilitation, restoration conservation and reconstruction leads seamlessly to all of the fun parts of research and documentation of assets. The author's detail on basic building systems is masterful. Throughout these sections is a careful balance struck between such diverse areas as describing a Historic Structure Reports and addressing life / safety issues.
   
   But without an economically secure future how can a structure survive the rapids of change? Mr. Tyler's answer begins with a fresh look at Donovan Rypkema's landmark report on the benefits of preservation. Realistic considerations of a structure's financial viability lead into the surprisingly clear waters of easements, tax considerations, and financial analysis. Even the pro forma spread sheet example invites a try.
   
   Since a reader has come this far, the next step is advocacy, fundraising and assistance with local government and municipal planning integration. Preservation planning through Downtown Management, Master Plan review and zoning are explained in a general way so to invite a local conception. This 2009 edition also reflects an up to date, smart discussion on sustainability, greenability and active heritage tourism.
   
   Historic Preservation is one of the finest guides to the dynamic study of modern preservation. It should be considered for any course work or library collection on the subject.
   
   Billy Neumann author of Rutherford: A Brief History