2 comments about American Country Houses of the Thirties: With Photographs and Floor Plans (Dover Books on Architecture).

1. This book is a facsimile of AMERICAN COUNTRY HOUSES OF TODAY by architect Lewis A. Coffin which was originally published in 1934. The introduction is only two pages, but it discusses the past, present, and future of country houses (that is, houses out of a strictly urban environment), a discussion with observations, questions, and fears that are still valid today. The author asks why we cannot make houses that are better planned, more liveable and more beautiful than those built by architects of the past. Coffin asks why the basic principles of simplicity, of proportion, of balance, and of well designed detail cannot be adopted along with new materials and technology. Why indeed? He blames the lazy or incompetent architect that finds it easier not to have to struggle towards the basic principles of good design for unsuccessful houses that mar the landscape throughout the country, still an issue today.
   
   This book consists of two parts. The first part begins with the design of a modern house with a classical precedent, but the rest are built designs as evident by the photo of the exterior. In some instances, interior views are also shown. And floor plans, both floors as applicable, are shown for each of the architect-designed houses. About 60 architectural firms are represented including Dwight James Baum, Delano & Aldrich, Frank J. Forster, Howe & Lescaze, Mellor & Meigs, the Office of John Russell Pope, and Royal Barry Wills. Most houses fall in the category of Colonial -- Cape Cod, Georgian, Monterrey, California Ranch, Creole -- but there are also English Cottage, French Country, Regency, and even a couple in the International Style. Although a few are quite modest, most are moderately substantial. Judging from the mature plantings, most of these houses were designed and built before the hardships of the Great Depression had set in.
   
   The second part consists of some of the more notable submittals to the Small House Competitions of 1932 and 1933. Held by an organization called The Better Homes of America to promote quality in small houses, there were restrictions in cubic footage and designs had to be executed by architects within the previous 5 years. Floor plans along with at least one photo, like in the first part, are presented for 21 houses, includig the one pictured on the cover of this Dover edition. This reviewer is particularly enamored of a modest board-and-batten cottage with a wood shake roof owned by Dr. Seeley G. Mudd of Santa Barbara County, California; the site is only about 35 feet wide, but it is 782 feet long and extends across a beach to the edge of the Pacific Ocean.
   
   Instead of finding a horrible design in any one of the house plan magazines currently found in stores across the country, persons wanting to find ideas for the basis of a new home would do well to include one book like this as part of their research. At the very least, a design from an archival source might be used as a starting point for those wanting a compact and economic plan that is also attractive. This is an interesting book for all who enjoy the history of American Architecture and traditional residential design.



2. This book had lots of cape cods, tudors & colonial style plans. I have a cape cod, and am looking for my 40's built floor plan. I came close with a few of the plans in this book and have enjoyed looking & reading about all the plans.

No comments about Finnish Summer Houses.

5 comments about From Bauhaus to Our House.

1. There are a lot of legitimate arguments to be made against the Bauhaus and Purism, but Tom Wolfe seems too interested in writing a sprawling rant to really explore them. Only once, near the very end, did he mention that many of these buildings were not built on a human scale -- in my view, their biggest flaw. Instead, the book focuses on these issues, which seem minor in comparison:
   
   1. Glass, steel, and concrete are bad.
   2. Simplicity is bad.
   3. Architects who bad together into compounds are bad.
   
   It's hard to accurately judge this book properly, since I read it 30 years after it was written. Still, if Tom Wolfe wanted to make a case against this type of architecture, it seems like he could have set his ego aside and done a much better job.



2. Tom Wolfe's FROM BAUHAUS TO OUR HOUSE skewers the Bauhaus School and Modernism in general (characterized by the International Style of architecture), as well as Post-Modernism (essentially, another version of Modernism). It's an intelligent, satirical look at an early 20th century European architectural ideology that rose up to reject the bourgeois and design for the working class--which the International Style architects may have regarded as too benighted to know what it really wanted. Apparently, according to these architects, what the worker would want, if s/he knew better, was to live in unadorned, black-and-white, steel and concrete boxes constructed with mass produced materials. Architecture schools and art institutes in the U.S. not only enthusiastically embraced the ideology ("They do things better in Europe," said Malcolm Cowley), but also its principle European champions, giving places of honor to the likes of Walter Gropius (Harvard), Mies van der Rohe (Armour Institute), and Josef Albers (Yale). Much of this movement was constructed around drawings and theory vice actually building buildings. In this way, architecture suffered from some of the same scholastic claptrap as the other arts, indeed of academe itself. When Wolfe drolly comments, "For the ambitious architect, having a theory became as vital and natural as having a telephone" (p. 121), he could have been speaking in general of contemporary academics--which many of these architects, ensconced in their university "compounds," were.
   
   Wolfe's targets easily lend themselves to such a treatment. The Modern architects' disdain for the opinions of both client and occupant are obnoxious. One wonders why the client (but not so much the occupant) kept, as Wolfe puts it, taking it like a man. However that may be, Wolfe's style gets a bit old after a while. You just want him to chill for a bit. People weren't all necessarily duped by Modernism. The clean lines and simplicity of forms of work by Le Corbusier constitute a refreshing break from the past, and has certain aesthetic appeal. The offense of the style is not just that it is impractical; it's that it becomes so damn derivative and so dogmatic from that point on. (Frank Lloyd Wright, who was not a member of the International Style clerisy, but was "an American original," and so fairs pretty well in Wolfe's treatment, was not necessarily very practical himself. If you're a parent, tour "Falling Water" and you'll see what I mean.)
   
   Wolfe's venom, to be sure, is aimed at the arrogance, pretentiousness, and hypocrisy of many of the leading architects comprising the Modernist and Post-Modernist movements. In that regard, Wolfe is very much on target in his criticism, even if he does go a bit overboard. Understanding that this is a screed, and not an objective critique, the reader will be pleased to find in this little book a readable, trenchant, witty, funny, and erudite treatment of these leading trends of 20th century architecture.



3. The good news is FROM BAUHAUS TO OUR HOUSE (1981) is a quick and easy read; the bad news is it is over a quarter-century out-of-date. Wolfe gives a good overview of modern architecture which developed between the wars in Germany and the Netherlands (mostly), by men [sic] who fancied themselves champions of the worker, scoffed at bourgoisie cravings for ornament and comfort, migrated to the United States, and isolated themselves in academic compounds where they spent more time issuing manifestoes and striking poses than actually designing and building buildings. These academic architects, for all their Marxist ideology, seemed to care little for what the common worker wanted or needed. And they never embraced authentic modernist American architects, such as Frank Lloyd Wright [who broke two of the compound architects' sacred rules by (a) listening to his clients, and (b) actually having clients]. Wolfe's presentation is swift and impactful and his opinions will be gratifying to anyone who is baffled or bored with modern arctitecture. I'm not sure I am ready to dismiss all 20th century architecture so completely (I love the Seagrams Building, for instance).
   
   The book ends with a preliminary sketch and discussion of Philip Johnson's AT&T building in New York City. This building with a top that is said to emulate that of a Chippendale highboy has since been built (long enough for its original tenant to have moved out) and New Yorkers have ceased to comment on it (indicating, I suppose, either acceptance or boredom). Michael Graves, whom Wolfe criticizes for doing lots of drawing and little building, has actually taken on commissions and produced buildings that are defining post-modernism (for more about these, the reader must resort to Google). I suspect Wolfe has continued to write articles on architecture; it would be nice if he could bring these together with a Second edition of FROM BAUHAUS TO OUR HOUSE.



4. This is a delightful little book, particularly so if you want to have your prejudices confirmed. Those prejudices would include the following: 1) Theory should never become detached from practice; 2) Elites who think they know what is best for the common folk are never to be trusted; 3) Europe is different from America and we should neither be intimidated by their culture nor excessively defensive concerning our own; 4) Ugliness--regardless of the political ideology supporting it--is still ugly; 5) Common sense and common aspiration trump hothouse academic posturing; 6) Architecture is space for human life, not an opportunity to make an abstract statement; 7) (my personal prejudice) Art deco (on the large scale) and prairie-style (domestically) so far exceed modernist or postmodernist architecture that one must wonder why they were ever abandoned.
   
   Tom Wolfe's purpose here is to demonstrate that establishment architecture (which happened to also be left-leaning, ideological, elitist architecture) is flat-out ugly. While he shows the linear progression of influences that led to the international style and sustained it, he never fully answers the question of why so many tolerated this nonsense for so long.
   
   I have had some personal dealings with one of the individuals in TW's rogues' gallery and I found him to be arrogant, pretentious, highhanded and not terribly imaginative. How do such individuals prosper? TW's answer, in part, is that they draw their actual living from university appointments rather than from real world construction projects, but he also argues that, in general, the consumer simply defers to such a person's judgment rather than following his own lights. Thus, one of the key lessons of the book is to trust yourself and your own inclinations and perceive the nudity of the elite culture's current emperors--a healthy antidote to many persisting cultural diseases.



5. Wolf's main thesis is that the original impulse for Bauhaus modern was for worker apartments . That it became in the lead enterprise is deeply ironic .
   
   The impulse arose in the difficult period between the two world wars when socialism and seems more vital and relevant an extreme capitalism . Very name the "international style" was rather haphazard , appearing in an essay by Johnson based on Gropius's 1925 book , international architecture .
   
   The jump canes with a Rockefeller supported museum of modern art in 1929 in New York . The rise of Hitler led many of the architects to emigrate to New York or the East Coast architecture schools . This is happening in parallel with Arnold Schoenberg 's abstract music . Freudians also came , of which I was a beneficiary through Fromm. The buzz around these figures masked the American and she once, for example in psychology of William James . While the Europeans were looking to the Americans in using such as Scott Joplin and the Aaron Copland , the Americans were looking to Europe . Perhaps one can say looking without finding was the characteristic of the age .
   
   The alignment Between socialist origins and an elite clientele made a modern movement hostile to the middle class and to any sense of comfort or nostalgia . The oldest traditions became heresy . Architects like Frank Lloyd Wright was constantly marginalized . What came to dominate was what was called the "Yale box", an endless series of Cuba's made of glass and steel arranged somewhat organically and painted white and undecorated . The boards of universities and corporations embraced this move because it was simple, cheap, and made technology and modernism look good . As wolf says, "the building could scarcely have been distinguished from a Woolco discount store in a shopping center . and "an architecture whose tenets that prohibits every manifestation of exuberance, power, empire, Granger or even high spirits and playfulness . In short, the reigning architectural style in this, the very Babylon of capitalism , became worker housing. " yamasaki , the architect of the world trade center , was an early advocate and built a housing project in Saint Louis in 1955 that was dynamited in a famous movie in 1972 . The similarity with a world trade center is painful to contemplate .
   
   Creative impulses like Aero Saranan's here terminals at Kennedy and Dallas were scorned simply because they used curves . The modern architects moved strongly from office buildings to malls and museums , but the imitators can be seen in block after block of almost any ten were cheap rectangular buildings of failing break and cracked plaster are the results and remains of a hotbed undisciplined economy.
   
   It is striking a small number of people who made names for themselves and those. And this small number of commissions . Most of the building was done by unknowns in imitative style in collaboration with developers looking primarily at the bottom line . In a way, the modern movement was not so serious. This book does a good job of naming the characters and showing their interconnections .
   
   From a rhetorical point of view, Wolf at critical moments compares events to the renaissance and scholasticism. Well done.

5 comments about Portfolio Design, Third Edition.

1. It's curious that this book is touted as "the bible of portfolio design." Although it passes as an intro, it's value drops off the face of the Earth afterwards.
   
   What "Portfolio Design" is, is a reproduction of outdated portfolios and examples of templates you can find in any page making tool. It lacks any meaty, substantial analysis you'd expect to find in a "bible" of portfolio design:
   
   -nothing on the theories behind print design.
   -no explanation on the "whys" and "hows" of presenting your work.
   -little analysis on proper organization of a portfolio.
   -insufficient info on photography, cropping, margins, etc.
   
   If you've never put a portfolio together, you might get some use out of it in the initial stages of your portfolio. Once you iterate to a certain level, however, "Portfolio Design" makes a better coaster than a guide. Advice: buy it used, if you buy it.



2. lo recomiendo ...es el mejor libro de portfolios a la venta y esta muy bien dirigido al campo d ela arquitectura,,..sus fotos e ilustracion son magnificas..claras y explicitas...comprenlo....vale la pena increiblemente



3. First off, this is a great reference for people/architecture students who are starting up or refining their portfolios. It is packed with some excellent, helpful written guidelines and decent imagery of a wide variety of portfolios. The professional commentary/critiques of the case-study portfolios are worth the price of the book alone. I received the 2nd edition of the book 5 years ago as a gift as I was applying to architecture school (after I'd submitted my portfolio however!) and, after leafing through the book in detail at Borders, I picked up this 3rd edition today as I am preparing to graduate and enter the work force.
   
   Now, with that out of the way...
   
   Several of the negative complaints I've read on here have focused on the "poor presentation" of the portfolios and the quality of the images of them, etc. While those comments are not without merit or completely off-base, they are in fact quite silly with regard to the subject matter of this book. Linton is providing samples of portfolios that were created by various students who volunteered to have their work featured and the fact is that many of the portfolios are quite elaborate fold-outs, spiral bound books, or printed plates...there is really no way for the author to present the images of the portfolios themselves (not their content!) other than photographing them.
   
   You can easily understand the IDEAS that are on display and how they are being graphically represented. That is the essence of what you need for composing your OWN portfolio featuring your OWN work. If you're looking for step-by-step instructions on how to create a slick portfolio, look elsewhere. I will say that the book would strongly benefit from more color imagery, but as for the reviewer who said they simply gave the book away because it was so disappointing and worthless, well, we don't see eye-to-eye on this one.



4. This book is so often mentioned and recommended that I bought it. I have produced some hand-built portfolios of my own, and was looking for more inspiration and practical advice. Instead, I found poor images, much of it in black and white, and the work in the portfolios is more interesting than the portfolios themselves.
   
   This is heavily geared to architects and also to those with the means to have professional printing and a huge cash outlay for materials, cases, etc. I think some of the advice is good, but really for the un-initiated student, not professionals. A professional already knows that if the portfolio is sloppy, that it will not speak well of the designer and that a well-designed portfolio is an extra endorsement for the designer above and beyod the contents. There is little better advice/information in this book than that.
   
   The portfolios showcased are very similar to each other, and there is little that can be produced by someone at home with a computer and a printer. I can tell you from my own experience that there is a lot you can do with a little elbow grease and less reliance on professionally assembled pieces.
   
   A little advice of my own: A portfolio must showcase the work, must not detract from the quality of the work, and must be either changeable or expendable. Your portfolio should not be stagnant, but evolving with the new wonderful things you're doing and adding! Too few of the examples in this book provide for leave-behnids, inclusion of resumes, and the evolution of the contents.



5. "Whether you work in architecture, urban planning, landscape design/architecture, or interior design, a finely tailored portfolio is the most important element to include in your application for graduate school, a design grant or competition, or bring to a job interview. In addition to showing you how to assemble a portfolio that will display your talents and qualifications to the best advantage, the third edition of Portfolio Design adds a chapter on digital strategies, discussing all the elements necessary to bring your work together in a digital format. Also new in this edition is commentary and analysis of selected student portfolios by three experienced professionals who offers unique insights to help you develop your own portfolio.
   
   From formats, bindings, and cases to reproduction techniques, content, style, sequencing, multimedia, and the latest in promoting yourself on the internet, Portfolio Design addresses every aspect of portfolio plannin gand production."
   
   ~Excerpt from inside cover of Portfolio Design, Third Edition

2 comments about Blubberland: The Dangers of Happiness.

1. this book is genius. materialism is what is killing us. has been for so long. she so succinctly put into words what i have so often felt is wrong with the world. this book is so necessary and screams THE TRUTH. Better than a gazillion self-help books on how to be happy. like the music from Tommy, these pricey deals don't teach us, their freedom doesn't reach us, enlightenment escapes us. this book is a treasure. thank you so much for writing this down in your intelligent and witty way. Clancy OHaraSeamus and Emer



2. This is the first book by an architect that I've enjoyed reading. There are two reasons Blubberland is so good:
   
   One, it's about the philosophy of excess as much as biology and psychology. The second reason the book is fascinating are the examples taken from Farrelly's society (Australia, both white and Aboriginal). Stories and examples that are so culture-specific emphasize the universality of the problems the book deals with.
   
   Farrelly quotes thinkers from Immanuel Kant ("the beautiful is the symbol of the morally good") to Lily Tomlin ("the thing about the rat race is, even if you win, you're still a rat"). The book is very funny and very serious.
   
   Probably more than anything else, Farrelly talks about the concepts of Truth and Beauty.
   
   I think Truth and Beauty (along with Love) should be synonyms. We shouldn't try to define these things so precisely that it's even POSSIBLE to distinguish them from each other.
   
   A lot of our problems come from our primate nature, which evolved to put us on a " 'hedonic treadmill,' a constant round of wanting and getting, fuelled by dissatisfaction and disappointment."
   
   Farrelly agrees with economist Fred Hirsch, that we suffer from "the 'tyranny of small decisions.' " Too much choice.
   
   Perhaps our main fault is our self-absorption. (But are we biologically capable of being any other way?) Farrelly points out that "extreme fear of death, and the longing for it, are generally regarded as classic narcissistic traits." Maybe that's why (at least in the U.S) we have both color-coded terror alerts and apocalyptic fantasies on TV and in the movies.
   
   We want to live AND we want to die. And we're doing a good job of ensuring the later on a planetary scale.
   
   So, can we climb out of the narcissistic pit we've dug for ourselves? Farrelly quotes Iris Murdoch: "Love is the extremely difficult realization that something other than oneself is real." Back to those three ideas again - - Truth, Beauty, and Love.
   
   I also found what Farrelly said about art thought-provoking. She mentions the subject of the documentary film Who the #$&% Is Jackson Pollock? (Documentary), and discusses how art has changed since conceptual (as opposed to realistic or descriptive) art became the dominant form in the West. Warhol vs. Carravagio, to use two painters Farrelly mentions.
   
   Finally, Farrelly can't avoid the conclusion that Beauty doesn't necessarily come from Freedom. "The sad and prickly truth is that cities cannot be effectively planned, much less made beautiful, by democratic government."
   
   "From Mykonos to Paris, beautiful, traditional towns . . . were produced under condtions that we would consider intolerably oppressive, with little or no personal choice . . . as to material, style, colour or decoration."
   
   At the conclusion of Blubberland, Elizabeth Farrelly writes her own apocalyptic scenario, leaving the ending open. It all depends on whether we can learn "to transcend our primate selves and find some more altruistic mode" of being.
   
   
   
   
   
   

5 comments about A Little House of My Own: 47 Grand Designs for 47 Tiny Houses.

1. Though I do not recommend the authors book :"The Tiny House Book", this book is great! Great photographs and drawn pictures that detail the building being written about. More of an idea book for the home handy person than a detailed instruction book, it contains enough information to easily build a number of the buildings illustrated. This book focuses on very small buildings most under 600 sq ft but the ideas presented could be used to build any sized home or out building.



2. The quality of the book's construction, layout, pictures, and organization is veyr nice. This definetly makes a nice book for reading in a doctor's office.
   
   The author clearly states that the book provides little in the way of specific construction methods for small homes or floor plans. The floor plans could have been at least double the size that they are. There is too much white space on the pages with the floor plans. I almost needed a magnifying glass to read the notes on the floor plans.
   
   There are lots of pictures from the outside of the homes - perhaps drive-by pictures. There are very little pictures on the inside of the homes. The efficient use of less space could have been better addressed with pictures and sketches.
   
   The bottom line: If you want a nice looking book with an interesting topic, buy it. If you want substance, look somewhere else.



3. I came across this book after reading Michael Pollan's excellent _A Place of My Own: The Education of an Amateur Builder_, in which it is mentioned that the Lester Walker book _Tiny Tiny Houses_ had helped inspire Pollan to build his own little writing cabin. This book, _A Little House of My Own_, is effectively an update and expansion of _Tiny Tiny Houses_. (At the time of this writing, Amazon has paired the two Lester Walker books for its "buy this book with ..." feature; don't be fooled into buying both books!)
   
   I quite enjoyed _A Little House of My Own_, and am a bit surprised at the number of reviewers here who were disappointed by it. My best guess is that they were expecting something other than what they got, and they didn't see beyond that to what the book does have to offer: it is a fascinating study of simplicity in architectural design, and presents a refreshing counterpoint to the current trend of constructing soulless McMansions. The book's history of very small houses and workspaces, illustrated by forty-seven different examples, is a welcome reminder that people can live well in much less space than so many of us are now accustomed to.
   
   While this book contains drawings and floorplans to accompany its photographs, the material given is not enough on its own to use as a guide for construction. Walker states in his introduction that the beginning builder who wants to try putting up a small cabin like one of the ones presented should "read one or two of the basic housebuilding books listed in the Bibliography and then become very friendly with a local housebuilder." The intention is not to provide templates for construction, but to help get people thinking about the space they occupy, how to use it best, and ideally to inspire them to design and build a place to call their own.
   
   As a city dweller renting my apartment, I'm not going to be doing any construction work anytime soon. But I would like to, one day, and if I do, I will definitely want to have this book on hand as a reference. The combination of history and technical information presented here is unusual and eye-opening.



4. These houses would be interesting to live in, if you don't mind living in houses WITHOUT BATHROOMS! Nice houses to look at, and one or two might be nice to build (two out of the whole 48 could be liveable as a weekend getaway), but if you're looking to buy a housebuilding book to actually build a house, look the other way. Les Walker must be running out of ideas because it's just a reprint of his first book. I doubt HE lives in a 250 square foot house with no bathroom and an igloo cooler for a refrigerator. C'MON LES, SNAP OUT OF IT!!!!!!!!!!!



5. Unless Amazon made an error these books are exactly the same. I bought Tiny Tiny Houses a year ago and just discovered that the contents of A little house of my own is the same.

2 comments about Easy Cottage Style.

1. At first read,I wished I'd just gotten this book from my local library. It seemed unlikely to be a book I would refer to for inspiration and ideas. Some of the interiors were downright dingy and depressing (the kitchen from all scraps and found materials just looked like you'd expect it to look-cold, uninviting and plain ghastly). The cover picture is the most fetching / captivating photo of the entire book.(I considered returning this book weighing cost of shipping back vs. money already spent and decided on keeping).I have since reread it and have to admit the author has some gem interior decorating insights--who new pink/rose walls could be a warm neutral? I like the emphasis on using old and found/recycled materials. If you are a fan of the Shabby Chic series this book may greatly appeal to you, and unlike the author of the Shabby series, this author is much more humble and does not feature or focus primarily on her home, business and associates. Underwhelming but with some valuable interior decorating insight



2. I was surprised that this book was more "country" than "cottage". However, getting past that - I found that there were great pictures with good descriptions and decorating advice and they pointed out why they did things. There was nothing fussy and their ideas could be done with a good eye, some book guidance and a low budget. With this book you don't have to be a designer. You can do it yourself and have fun without worrying about the cost. The homes (not cottages) shown are to die for! And, this book brings out skills used to enhance their little quirks. Unlike some other books in this class, the text matches and explains the pictures without running over the page so you are not continually flapping forward and back.

No comments about AutoCAD 2008 for Interior Design and Space Planning.

5 comments about Rural Studio: Samuel Mockbee and an Architecture of Decency.

1. The book has great photos and text, the work itself is questionable. I reminds me of being a sophomore in design school. Much of the work is by the students and it's a bit overdone and not always as practical as one would hope.



2. After reading this book, I for one would loved to have worked at Rural Studio under him. But the stories and the student work is what completes the book. If every community had a "Rural Studio" of their own no community would have homeless. The pictures are also fantastic, I can't wait to buy the next book.



3. It has been nearly two years since the AutoCAD disappeared from my desktop. When I dropped by a new bookstore near my home, I looked for the architectural section. It is because I felt that I got too far away from architecture, my original work area.
   
   But most architectural books were still in their old-fashion: planning manuals, master architects' theories, works of recent architects and architectural histories. In addition, some others are focused on the architects' political(?) intention. Consequently, I could hardly find a meaning of such publications, meaning that could be understood even by the general public.
   
   This book gave me a meaning in two aspects; an architect should do his social responsibility and an architect should participate actively in communication with the general public like Sang Lim Lee, an architect who translated the book to Korean.
   
   The style of writing is rough as is shown in blogs. But, in other words, it can be understood easily by the general public. We can see Mockbee's work both with a view of respect and a view of jealousy. Nevertheless, I would like to focus on his achievements in communication with regional community and in giving his students significant opportunities. His vision has not degenerated into profit-seeking one and has been sustained by his successors until now.
   
   After reading this book, I got to think that an architect should not be exempt from cause related marketing.



4. Maybe the most important architectural idea since the series of pattern language treatises by Christopher Alexander. I think this is a must read for anyone involved with real estate development. Surely a model for New Orleans. I'm planning to take a trip and pay homage. Mr. Mockbee was a genius.



5. The evidence of Mockbee's brilliance and compassion. Proof positive that Mockbee deserved all the awards and acclaim. Great pictures of both the architecture and the house recipients. I love this book and share it often.

1 comments about Residential Interior Design: A Guide to Planning Spaces.

1. As a textbook purchased for class its great. It works great as a reference guide when your doing a project.