5 comments about Glass House: A Family Home.

1. I am impressed with how Tom Roszak uses a mix of modern design and new technologies to create a very livable, modern experience in the home. Kudos, Tom!



2. Award-winning Architect Thomas Roszak tells a beautiful story of building a home like no other through a series of interviews, step-by-step instruction and phenomenal photography.The vivid imagery allows you to experience the construction process firsthand. You learn about what it takes to create such a unique house that looks fragile from the outside but is about functionality on the inside. Roszak's transparency and genius shows as he shares his "castle" with readers. It's the perfect coffee table book that's sure to captivate and inspire conversation.



3. The photos and drawings are captivativing. I felt like I was able to clearly visualize the living experience that Rosazk enjoys in his glass house. While an "all-glass house" may not be right for everyone, the book is wonderfully inspiring for how glass can be incorporated into the home design process.



4. Glass house gives us an inside perspective on the quest to create a home that truly reflects - in form and function - how families live today. Tom Roszak, the author, provides great insight into the concept and design process, the realities of living in a transparent home, and how technology can simplify our lives. Glass house will make you question the "normal" conventions of interior and exterior residential design - a fascinating read.



5. What a fascinating book. Roszak does a great job telling the story of his family, as well as the work that went into building an extremely nice, and surprisingly warm-looking, home. You'll enjoy it whether you're an architect, family-man or casual observer; the window into the home is crystal clear.

2 comments about Theology in Stone: Church Architecture From Byzantium to Berkeley.

1. Perhaps it is because I come from the same background (Western Anglo-Catholic) as the approach from which Richard Kieckhefer comes in this text that I find such a resonance with what he has to say. 'Theology in Stone' looks at various aspects of church design, from the long tradition of church building in Christianity up to the present time. His text begins with four principle factors in basic church design, and then looks in some detail at three particular styles.
   
   The four factors highlighted are not typical architectural concerns, but rather wrapped up in spiritual, theological, and aesthetic values. How does the space work? What is the central and centering focus? Is there an aesthetic impact compatible with the intention of the church? How do symbols function and resonate? There are no universal answers to these types of questions. As Kieckhefer states, 'Response to a church [is] conditioned by culture and by cultural interaction.' Response is also related to expectations, usefulness, the people populating the church, and a number of other concerns. However, perhaps most importantly, response to a church is a learned process that generally 'requires informed reflection. The meanings of a church are seldom obvious.'
   
   With regard to spatial dynamics and centering focus, Kieckhefer states, the purpose of the building is expressed. The symbolic resonance goes to the meaning of the church, and the aesthetic impact relates to the form. Kieckhefer takes classic church architecture ideas and applies them not to the task of planning and building a church as much as to understanding how the buildings function and have meaning for those who use them now. Kieckhefer also differentiates between the issue of what a church has meant and what a church can mean.
   
   The churches Kieckhefer highlights include Beverly Minster, a church in the then second city of York (York, of course, being the second city, ecclesiastically speaking, of England, after Canterbury). The examination of this church, along with others, takes into account the surrounding community, the geography of the church's placement, and the population that peoples the church. 'The meaning of church architecture can never be read in abstraction from local ethos,' Kieckhefer states. This is also true of Chicago, where there is about as diverse a collection of churches as anywhere else on the planet. Still, there are discernable patterns here, according to Kieckhefer. 'There were three basic approaches to liturgical space in these churches: the design of Roman Catholic churches was appropriate mainly for intercession, that of Protestant churches for proclamation, and that of Eastern Orthodox churches for meditation.' Kieckhefer examines here the churches of the late nineteenth and early twentieth centuries, 'a time just before the rise of architectural modernism and liturgical reform.' Kieckhefer's third area of discussion focuses upon the work of Rudolf Schwarz, whose strong, simple designs rely on reinterpretations of classic architectural ideas and embraces liturgical principles both ancient and modern.
   
   Kieckhefer concludes the book with a dicussion of modern issues, doing significant theological reflection, including the tension between modern and traditional designs (both from intention and actual application), movements toward increased congregational participation, and other pulls between orthodoxy and dogmatism (which Kieckhefer describes as being opposites for his purposes here). He sees great resilience in the past, which can give new life and freedom to modern designs.
   
   Kieckhefer writes well, and his arguments are interesting to follow. They tend toward the sacramental side, but has a healthy respect for different views in his presentation. His endnotes are helpful and worthwhile, but a bibliography (even as a simple list) would be helpful. There is a good index, and a number of black-and-white photographs (most done by Kieckhefer himself).
   
   This is a text that will be of interest beyond the architectural crowd, but to any who seek to understand the way in which church architecture has meaning and can mean for the community.



2. Kieckhefer has done an admirable job trying to create a convincing scholarly narrative for the evolution of church architecture. This work adds to the growing body of texts on religious architecture and stands as an important contribution to the field. My reservations about the book come from its lackluster choice of "illustrative" examples. Kieckhefer has a wealth of examples to choose from and rather than picking the rule picks the exception. This demonstrates the valuable spirit of experimentation and development the field has come to expect of architects, but only scratches the surface of the wealth of architectural patterns that are evident today.

3 comments about Passive Low Energy Cooling of Buildings (Architecture).

1. I have already known this book, I did use it in my master's dissertation.
   But just now I could buy it to have it in my personal library.
   It's really interesting, and has many information on passive strategies about natural cooling of buildings, I as a brazilian architect strongly recomend this book, mainly for those who live in a hot climate.



2. I found the information invaluable though a bit difficult to understand because of the very scientific language used in its presentation.



3. Givoni's book is invaluable for anyone who wants to know of a nearly lost art-- how to cool buildings effectively without resorting to excessive mechanical cooling. What makes his book most valuable is the years of experimental research done to produce empirical data on which the conclusions are based. A treasure trove of ideas.

No comments about Codex.

5 comments about Classic Modern Homes of the Thirties: 64 Designs by Neutra, Gropius, Breuer, Stone and Others (Modern House in America).

1. In 1932, Philip Johnson and Henry Russel Hitchcock held a retrospective of European modern architecture at the Museum of Modern Art in New York City. They coined the term "International Style" to describe this newly emerging style. This show captured the imagination of many of the United States' best young architects and designers. They soon began to put an American spin on the new "International Style" of architecture.
   
   Eight years after the MOMA show, James and Katherine Ford published, "The Modern House in America". The purpose of the book was to draw attention to this new style of architecture as it was being developed in the United States. This volume was in turn republished by Dover Press in 1989 and retitled, "Classic Modern Homes of the Thirties".
   
   This volume showcases sixty four designs by such noted architects as Neutra, Gropius, Breuer, Shindler and Soriano. These works are shown with 194 photographs and 128 plans and drawings. It is important to note, these images come from a book published in 1940 and therefore lack the precision and design values that you would find in a book published today. This reprint is not a coffee table style of book. Its value is more historical in nature.
   
   What I found most interesting in this book, is to see how some of the best homes of this period start taking on an iconic stature within a few years of being constructed. Homes that are the subject of recently written monographs are shown as newly built homes.
   
   Mid-Century Modern is all the rage at the current time. There is no better volume to give an enthusiast an understanding of what forces came together to form this look. To really know Neutra, Schindler and Soriano, you have to know what they were building in the late 1930's.



2. A really super book for the price. This is a paperback reprint of a book published in America in 1940. Each house has one or more photos, inside and out, plus a plan (some a bit too small) and details about what the owners wanted, site, cost, materials, exterior and interior details etc. The black and white photos are good considering they have been taken from a printed source.
   
   The authors describe the concept of modern architecture in the short introduction and in the back each architect writes about their views on design. I must have looked through this book dozens ot times and I still love these houses. Unfortunately I bet a lot of them are no longer standing, which makes this reprint even more important as a visual record.
   
   If you are interested in this type of streamline building have a look at 'The Modern House Today' by Nick Dawe and Kenneth Powell, this has excellent color photos of sixty-three houses in England that are still standing, unfortunately the book is let down by the minimalist design. Charlotte and Peter Fiell's massive 576 page reference book '30s and 40s Decorative Art' covers Moderne houses (mostly in the US and Europe) with photos of interiors, ceramics, textiles and lighting. All three books are worth owning.
   
   ***FOR AN INSIDE LOOK click 'customer images' under the cover.



3. "Classic Modern Homes of the Thirties" is an unabridged reprint of a book first published in 1940, and thus serves as a valuable historic document. But this introduction to the "modern" style of architecture is not just a book for historians: it is visually stunning achievement that will be appreciated by all who have a passion for the art and science of home architecture.

   The book introduces the reader to 62 marvelous houses which exemplify the modern style. Architects represented include Gregory Ain, George Howe, Richard J. Neustra, Raphael S. Soriano, and many more. Detailed floor plans, exterior and interior photographs, and details of construction are included. The houses range in size from modest 1- or 2-bedroom homes to expansive, luxurious mansions.

   This book is a spectacular introduction to the vocabulary of the modern period in architecture. The photographs and floor plans capture the bold interplay of geometric shapes, the experimentation with glass and other materials, the profusion of balconies and terraces, and above all, the concern with functionality that motivated the masters of the modern.

   Co-authors James Ford and Katherine Morrow Ford have included a interesting introduction. Also included is a collection of brief statements by many of the featured architects.

   This is a great book for those interested in American cultural history, interior design, home photography, and other subjects. But at its core this book is an excellent record of and tribute to one of the most remarkable movements in the history of home architecture.




4. This is a wonderful book combining insight into "modern" residential home architecture of the 30's with a view into the lives of those who designed and lived in them. Like all Dover books, this title is remarkable well printed which allows the reader to easily see all the floorplans, pictures and other images of these homes. The text tells the reader about the family the house was built for, their lifestyle and needs, the layout and construcion details and decorating details of their home. What is remarkable is how fresh many of these homes look today and how much recent modern architecture owes the pioneers who designed these homes. Very enjoyable... anyone who appreciates architecture and history will love this book.



5. I am so glad to find a reprint of this book! It has been impossible to return the one I have on loan. Some less known but notable architects like Pietro Belluschi are included along with the big names. Details such as floor plans and original cost per square foot are a bonus.

1 comments about Decorator.

1. While the quirky yearbook-inspired format with lists of likes and dislikes and a childhood photo along with a contemporary, sometimes full page, portrait might seem frivolous to the serious reader, most will find the mini chapters an interesting change from the standard self-absorbed monologue or stilted interview. The author had a Manhattan store which sold exceptional painted furniture, so the decorators listed were no doubt based on possible promotional aspects. But that is not to say that any were not professional, talented nor without success. The Parish-Hadley contingent is well represented; in addition to Sister Parish and Albert Hadley, Bunny Williams, Gary Hager, David Kleinberg, Brian McCarthy, Nicholas Pentecost, David Anthony Easton, Mark Hampton, and William Hodgins are included. The European contingent is also well represented with Madeleine Castaing, Francois Catroux, Jacques Grange, Renzo Mongiardino, and Henri Samuel. In all, profiles of 48 interior deigners are shown along with some views of their own homes and some projects. Unfortunately, too many of these individuals are no long with us. Certainly the book serves as a good record of traditional interior design of the late 1980s, but it also shows that classic design can still be an inspiration twenty years later.

No comments about Beach Clubs: Sea, See & Seen.

No comments about New Milan Trade Fair.

No comments about The Framed Houses of Massachusetts Bay, 1625-1725.

2 comments about Oak-Framed Buildings.

1. Of the timber framing books I have ( about 8 now)
   This is the most sumptious book in my Library on this topic.
   The book is divided into 8 chapters: history, starting off, designing, structure, making frames, raising frames, enclosing the frame & finishing details.
   As the title implies, there is a chapter which details the qualities of English OAK 'Quercus robur'; how it grows , is felled, milled, shaped, framed and then shrinks
   Beautiful full colour page width and smaller photos are through out, showing this systems modern potential, with 3D SketchUp like models explaining the framing parts, construction procedures and framing types.
   .
   Each chapter has an introduction, photos, drawings and notes describing the the content, then a summary page outlining the important points.
   The books' page layout reflects a great deal of care by a graphic designer, as its mixed between 2 & 3 columns punctated with highlighted text, photos, colour drawings and colour 3D model views.
   A glossary at the end in combined with a 3D model ( of a 2 level tudor manor) view explain the various timber framing nomenclature.
   A must have book for your library , coffee table or to give as gift.



2. What a brilliant explanation of this wonderful craft. Well done Rupert! All that's left is to build an English Oak House village in Jamestown to celebrate 400 years!