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.

3 comments about ARCHITECTURE IN THE DIGITAL AGE: DESIGN AND MANUFACTURING.

1. We all know that information revolution has totally transformed the society. Architecture is no exception. Relative to industrial revolution's impact on architecture, "what has this recent revolution done to the field?" is the basic inquiry to the book. This book diligently answers to the question. It is extremely informative and provocative regarding digital technologies available for architecture.
   
   As an outcome of a symposium held at U.Penn. in 2002, the book compiles various scholars and practitioners around the world. They grapple with the current technologies available to design and manufacture innovative shapes/forms/spaces that associate with digital aesthetics.
   
   Spearheaded researchers such as Bill Mitchell(MIT), Chris Luebkeman(Arup), Ali Rahim (U.Penn), and Branko Kolarevic (U.Penn, chief editor of the book); and, cutting-edge practitioners such as Jim Glymph (Gehry), Hugh Whitehead (Foster & Partners), Bernhard Franken (Franken Architekten), etc.; both groups provide theoretical framework and actual applications.
   
   It's interesting to point out that the authors deliberately associated digital architecture with smooth forms. Double curvatures deform structure/ skin/ space of the building. The new modes of design and production enables that complex geometries to be part of building industry.
   
   As a reader, the most challenging claim of the book is that the authors
   assert (some explicitly and some implicitly) on the new role of an architect. They believe that this new mode of production will revolutionize the client-architect-contractor relationship. Because architects will be the (single) dominant source of information on the three dimensionally morphed shape, manufacturers and fabricators would rely heavy on architects. The authors predict architect would regain absolute power of medieval master builders.



2. I'm getting my masters in Architecture and this book is a must-have, must-read for anyone designing in the digital age. It's informational and inspiring not only for architects, but anyone interested in using computer technology as a method for design carried through to manufactuing.



3. This book provides a great overview of the developing technolgies in digital design and fabrication. I would highly recommend this book to anyone interested in a comprehensive study in the current trends in digital architecture. A series of 20+ articles by designers working in this area of architecture, this book updates the conversation to what is happening today and what is being projected in the future. Great resource!

5 comments about An Architectural Guidebook to Los Angeles.

1. If you want a book to LEARN about architecture in LA, then look elsewhere. But if you want to FIND architecture in LA, there is no better resource than this book. This is just a big fat list & map guide book and as such, functions brilliantly. I haven't seen this latest issue but previous ones had lived in my car the last 8 years I lived in LA. Almost anywhere I went, this guide would show me great homes and buildings hidden away and in plain sight that I never would have found otherwise. I happily burned many tanks of gas with this book in one hand and my steering wheel in the other. I left my copy with a friend when we left the area but if we were ever move back, I'd buy fresh copy right away.



2. Not AIA sponsored but in familiar AIA format, this guide is about as good as one can expect for such an incredibly vast urban area. There's lots of modernism, which is a good thing in this case since Los Angeles contains perhaps the best ensemble of high-quality modernism in the world. The entries are very short, sometimes as short as one sentence. Only about one building in five comes with a small black & white photograph. Covers all of Los Angeles County, but nothing from Orange, Ventura, Riverside or San Bernardino counties. Some important slivers of Riverside county would be a good addition.
   
   While more than a few people believe Los Angeles is nothing but a formless sprawl with little interesting architecture, this guide proves otherwise. The real key to Los Angeles is that its architectural features are scattered all over the basin rather than in one dense location, but they're out there for you to discover. This guide will help you find them. Bring it along with a full tank of gas.
   
   Another revised edition that fills out Long Beach, Shaw, Monrovia, Pomona and Claremont would be nice.



3. The book goes deep into detailing each of the buildings...It was definetely a good purchase. However,maybe just for architects, not listings of cool design bars or clubs, restaurants, etc. more the hardcore stuff like neutra, Lautner, case study, Eric Owen Moss, etc. but a lot of info. a very good source of information Very satisfy with my purchase. Spent 5 days in L.A. and got a lot covered thanks to this one.



4. This book is a major disappointment, it is hardly thorough and tries to cover to much ground and in doing so really does not cover anything. The book has very few pictures, which is so odd in guide of this kind, all you get is short discriptions of each building and I guess from this you are suppose to glean the image of the building, uh o.k. This really is the worst city architecture guide I have come across, I usually love these guides, I have reviewed several and have given them high marks, I love L.A., I think that is why I am so disappointed in this particular book. I had expected so much more, L.A. has so many interesting buildings, it's a shame that it does not have an architectural guide to match. Hopefully someday someone will write a guide deserving of the title of this book; the city of angels desevers better, heck Buffalo deserves better than this.



5. The long-awaited fifth edition of an LA guide that's often called "the bible" is a major disappointment. Robert Winter is a perceptive scholar of Victoriana and arts and crafts, but he sensibly left modernism to his collaborator, the late David Gebhard. Now he has attempted to do it all, by providing entries on key buildings of the 1990s that he neither likes nor understands, and the result is embarrassing. Gehry, Maltzan, Mayne, Moss, Pei, and Yazdani will be surprised to find themselves bundled together under the label "Neo-Expressionism (Postmodernism)." Disney Hall, which is pictured on the cover, is described in terms of what happened ten years ago (plus cloddish public reactions to the first pictures of the model); there's not a sentence on the completed building. Other adventurous work is dismissed as "very strange." A long-winded entry on the Getty reads like a chatty letter to a friend; most are absurdly brief. The revisions add almost nothing, and are woefully incomplete; the publisher is guilty of gross negligence for not wielding an editorial pencil. Earlier selections have been edited, but the William Cameron Menzies house in Beverly Hills is still there, even though it was demolished three editions ago, along with Gehry's Venice restaurant, Rebecca's. The original 97 percent of the guide remains invaluable and engaging. (Michael Webb is the book reviewer for LA Architect magazine.)

5 comments about Architect? A Candid Guide to the Profession.

1. The product is exactly what it's supposed to be. There was quite a bit more highlighting in the book than what it sounded like there would be. Shipped very quickly. Decent price overall. Solid 4 1/2 stars.



2. While this book has a few good pointers and general guides to the profession, it is very outdated and focuses on the way architecture and professionals "used to be." The author explicitly reminds readers that those who aspire to be architects should let nothing get in their way and that being an architect enables one to become "immortal" through "his" work. This model is no longer relevant in a work environment where more than ever, architects must be better listeners, civil servants and good designers. It exacerbates the worst parts of studio culture, glorifying them, and telling readers to "enjoy the psychological pains" of architecture school.



3. I recently finished my undergrad in business management, and have decided to return to school to earn an MArch. degree. This book has helped me in making this decision, as well as in knowing what to expect. If it does make you change your mind, then architecture is most likely not the career for you. If it's worth doing, it probably won't be easy. That said, it is not always as time consuming as people tend to think. My fiance is working on her bachelor's in architecture. While she is often very busy, there are times that she has a lighter load than I did in business school. It depends on the prof. and the project.



4. In this book Roger Lewis outlines the most important considerations in pursuing a career as an architect. I have always loved architecture, and have read extensively on the subject at the level of an interested amateur. When I was preparing for college in the 1980s, I wanted to pursue a five year professional architecture degree, but was dissuaded when I received a full scholarship in biology. That was an unfortunate decision in the long run, although I have been doing well professionally until recently, when my career field went into steep decline. I never forgot my interest in the subject, and while considering a mid-career occupation change, I have carefully considered returning to school and attempting to be admitted to a 3-4 year M.Arch. program.
   
   I am very glad that I read this book (and several others) prior to embarking on a career in architecture. The book is very honest about the rigors of school and the relative lack of money to be obtained in the field, unless you are uncharacteristically brilliant in design (and in selling your services). People like Michael Graves are definitely the exception to the rule. I appreciated Lewis' candor, and honestly the book has made me reappraise my desire to pursue this particular career transition. He repeatedly emphasizes that you should become an architect because of a love of architecture. I also have to be practical in considering that between three or four very expensive years of school and at least three years as an underpaid intern, it is at least seven years to becoming a licensed architect for me, and at this stage of my career that is difficult. Not impossible, but very difficult.
   
   I have not decided what professional avenues to pursue yet, but I will always appreciate the practical nature of this book in educating me about an architectural career. This is the most important book a prospective architect can read prior to committing to the arduous path leading to licensure.



5. I read this book when I was a senior in high school applying to colleges. It was helpful. I applied to architecture school and got into one of the best programs in the country. I graduated and got my dream job. When I was visiting my parents over Christmas I found this book on my shelf and read it again. This time I had an entirely different view after having gone to school and having worked for three different firms. This time it really hit the gut. I gave my notice at the firm and I'm going to pursue a different career for the next year. I'm not sure if I'm burned out on architecture and need to leave so that I can miss it and come back, or if I really don't want to be an architect. I have to say, the pay is bad. Really bad. That's what got to me. Expect to be paid HALF of what you're worth. That applies to the lowest intern all the way to the top partner. You just don't get paid what you're worth. Then again, it is a really incredible profession. It's a tough choice. So my advice is to buy this book and read it every couple years to make sure you really want to do this. Life is too damn short to do something you don't love with all your heart.

2 comments about Georgian Architectural Designs and Details: The Classic 1757 Stylebook.

1. I don't think balance, proportion and line can be taught. You either have it or you don't, but it definitely can be cultivated by exposure to construction challenges and real-world building. Swan practiced architecture based on a journeyman's experience with high 18th century design. His elevations are balanced and pleasing and his moulding details are sophisticated, stately and restrained. This is a must-have book for anyone who enjoys classic design or who wants to understand balance and restraint.



2. This is a very useful book for those interested in the nitty-gritty of Georgian architecture: floor plans for houses of various sizes, drawings of ornamental bridges, and architectural details including designs for whole walls.

1 comments about Flexible: Architecture that Responds to Change.

1. This book is fundamental for me because I'm PhD candidate and my thesis is about Flexible Spaces

5 comments about Color Mixing the Van Wyk Way: A Manual for Oil Painters.

1. This book is an excellent book. I have just started art lessons and need a little help in knowing how to mix colors.
   Helen Van Wyk books have all been excellent book. Easy to understand with great information and instructions.



2. This is a great book specially for beginner. Excellent reference book. I'll certainly read it several times.



3. All the theory in this book is dead wrong. There is little by way of practical advice. The book is mainly a collection of amateurish paintings by Ms. Van Wyk that are supposed to illustrate how to use various tubed colors. You should aspire to paint much better than Van Wyk ever did.
   
   To date, there appears to be no good book on mixing color. Instead, see www.handprint.com. It's about watercolor, but the color theory and mixing sections apply equally to oil paint. Also give a look to www.wetcanvas.com



4. I just received this book for Christmas 2002 and I have read it and re-read it! It has a wealth of information and is even a good reminder for those who might not have painted in a while. It helps you attain effects that you want and gives some step-by-step descriptions to help you understand what the author is talking about. I find that the information on casting shadows and the information on focal points most helpful. Helen Van Wyk also helps you to dimensionalize your art. Once you have read this book you will not look at colors in the same way. "The 4 Questions" will have you looking at art completely different. Don't paint without it!



5. This is a great manual for beginning and intermediate painters. It is arranged in a rather unusual way: by paint color. Within each chapter there are step-by-step paintings showing the color's usage. While I found the the organization odd at first, I quickly grew to appreciate it. There are colors I never would have thought to put in my palate, but seeing them in action was very valuable. Likewise, having a blended value scale for each paint was wonderful!

   What I found most valuable as an beginner/ interm. painter was being able to see a variety of paintings in stages. And not just "one, two, three, boom its done" like many books, but really layer by layer. She touches on a couple of different styles, discussing glazing as well as her painterly approach.

   This book also has valuable reference pages discussing (and displaying) color scales, color temperatures, earth tones, blending tricks, etc. It touches on portraits, backgrounds, and a variety of other related topics. I have read a number of other basic painting books, and this is my favorite. I have also seen (and own) other of Helen van Wyk's books, and while they are nice, this is by far the most valuable (and it includes some paintings and sections repeated in other books, i.e. portrait painting and color mixing bits).

1 comments about Precedents in Architecture: Analytic Diagrams, Formative Ideas, and Partis.

1. this is a good reference book when diagraming a structure. It has many examples and we work out of it frequently in studio.

1 comments about Corridor Ecology: The Science and Practice of Linking Landscapes for Biodiversity Conservation.

1. I highly recommend Corridor Ecology for anyone who is interested in corridors, land fragmentation, and species conservation. It is the most comprehensive literature I have come across in terms of the role of corridors, corridor design and implementation. As a current graduate student working on a corridor project, this book has been incredibly helpful in planning my field work in ground truthing Least-Cost path corridors. Especially the chapter, Corridor Quality: Continuity, Composition, and Dimension. It has really helped me understand better how to evaluate potential corridors. My advisor has been so impressed with the book that she is going to order some for the library and a biodiversity center that is being set up at campus. I also feel that this would be an excellent text for conservation courses as it covers issues such as metapopulation theory, edge effects and focal species considerations. The book also covers issues and potential problems that need to be dealt with when designing a corridor, which is very valuable. I also think this would be a excellent source for land management agencies and the Department of Transportation to utilize. The authors do an excellent job in bringing together all aspect of corridor ecology by utilizing the most current literature, valuable study cases along with their incredible field and research experience.
   
   Tanya Diamond
   M.S. Candidate
   San Jose State University

No comments about My Father, Frank Lloyd Wright.