2 comments about Architecture: World's Greatest Buildings, Styles and History, Architects (Eyewitness Companions).

1. Ultra helpful!!! I bought some for xmas presents and everybody was really happy! In particular, I think this book is the best! If you like Architecture or like to travel or simple you enjoy beatiful photos, Buy it!!!



2. For my neice who has recently become interested in architecture, this is the perfectbook. It not only provides a world perspective of architecture, the actually pictures are great. Fantastic buy!

1 comments about The Dome of the Rock.

1. CAUTION: There are 3 different books with the same title by the same authors, but with different re-write contents in different years. All discuss the "Dome of the Rock" or the "Al-Haram al-Sharif" hilltop in Jerusalem. [Atop this rock is where Jews believe their now-destroyed Second Temple was located; where Christians await the building of the Third Temple to enhance the return of Jesus; and is from where the Muslim Prophet Mohammad ascended into Heaven to talk with Allah before returning upon his flying-horse al-Buraq to Medina.] #1 (Sept. 1996): "The Dome of the Rock" by Said Nuseibeh AND Oleg Grabar. [Nuseibeh was the photographer, translator and writer, with co-author Grabar adding valuable commentary regarding the architecture of the dome.] It is the large "coffee table" size: 9.6"x12", hardback with 175 pages; Rizzoli publisher; {ISBN-10: 08-47819426} $60 new, $35 used. This book provides countless photographs of every ornately tiled wall and crook-and-cranny niche within this octagon-shaped building, and is the first one that I have seen that translates the extensive Arabic inscriptions contained inside the dome. How should Christians view this inscription in the Dome: "So believe in God and all the messengers, And stop talking about a Trinity. Cease in your own best interests! Verily God is the God of unity. Lord Almighty! That God would beget a child? Either in the Heavens or on the Earth?" (p.107) [Muslims don't believe in the concept of the Christian "Holy Trinity"; and maintain that while Jesus was actually a MUSLIM prophet, he was not the "son" of God and therefore not divine.] Also, this is the only book I've found that has a very detailed bird's-eye view of the top of the entire Haram al-Sharif complex, and depicts where about 65 different shrines, stairs, gates, and domes are located. #2 (Jan. 1997): "Le Dome du Rocher" by Said Nuseibeh and Oleg Grabar; hardback same as #1 but in French. #3 (Oct. 2006): "The Dome of the Rock" by only Oleg Grabar. It is medium-size: 6"x8", hardback with 234 pages; specialty Belknop Press of Harvard University Press; Cambridge, Mass.; printed in Canada; {ISBN-10: 0-674-02313-7} $25 new; $13 used. This is NOT a smaller reprint of #1; it is a totally different re-write! It has perhaps only 5% of the photographs contained in #1, but does provide several new site maps along with new analysis. #4 (Aug. 1985): "Dome of the Rock" (in 'Wonders of Man' series) by Jerry Landay; 160 pgs; Newsweek Books {ISBN-10: 0882250183 or 088225019-1}. As related items you should review: (a) "Secrets of Jerusalem's Temple Mount" by Leen Ritmeyer {ISBN-10:188-031-752-4}; a study of the architectural history of the building of various temples atop the Temple Mount; and (b) "The End of Days" by Gershom Gorenberg {ISBN-10: 0-684-87179-3}; an analysis of the religious and political struggles between Jews, Christians and Muslims for control of the Temple Mount to accelerate the much-anticipated coming of the calamitous hells-a-poppin "End of Times."

2 comments about The Sarasota School of Architecture, 1941-1966.

1. John Howey does an excellent job of connecting the place, the time, and the influence of Frank Lloyd Wright and Walter Gropius, to explain the development and evolution of a fine group of architects who practiced in Sarasota beginning in the 1940s, and a few of whom remain even today. While he ends his book on a down note, the book itself and the hard work and dedication of the Sarasota Architectural Foundation have resulted in a revived interest in the work of these architects. Hopefully, efforts to save and restore their surviving masterworks will succeed, despite the forces of McMansionization at work in Sarasota.



2. This is the story of a group of talented young architects who were in the right place at the right time. The time (1946-66) was when America was in a building boom, the public wanted fresh, clean designs. Sarasota was a growing town and Modern Architecture was going to change the world. The Father of it all was an architect named Ralph Twitchell. In 1940 Twitchell hired a young intern architect named Paul Rudolph. Rudolph would go onto Harvard GSD, serve in the Navy and return to Sarastoa in 1946, and then become Twitchell's partner in 1950. The two of them, with a group of other talented architects (most notably Victor Lundy) would go on to design some extraordinary custom homes, churches and schools. Their architecture stressed the tectonic (the use of new technologies). Although the Sarasota aesthetic was in similar vein to the California post- war architecture, it also was heavily derivative of a Florida vernacular architecture. Rudolph's early philosophy stressed five points: the Clarity of construction; Maximum economy of means; Simple overall volumes penetrating vertically and horizontally; Clear geometry floating above the Florida Landscape; Honesty in details and in structural connections. It is always a treat to see his pen and ink renderings. A must for the serious student of modernism.

5 comments about Frank Lloyd Wright Field Guide: Includes All United States and International Sites (Frank Lloyd Wright).

1. The real value of this book is the detailed locational information, GPS coordinates, and information on how one can see the structures without tresspassing. If you are looking for historical info or pretty pictures, this isn't the book. But if you want to see as many of Wright's buildings as possible when traveling this book is the one to have so you don't waste your time travelling to places where the structures are completely off limits. Fantastic.



2. I bought this for my dad who's building a prarie-style home and is the biggest FLW fan I've ever met. He loved it and said that he'd never seen anything like it. He's planning a future business trip around seeing some of the houses listed in this guide. I was surprised at what a hit it was.



3. A friend recently used this book as guide to search out homes in the mid-west and found it to be accurate and very helpful. A must have for all Wright enthusiasts.



4. This is not your typical Wright book filled with beautiful pictures for your coffee table. This is a Field Guide for the Wright aficionado who wants to see the buildings "in the flesh." It is meant to be kept in the glove compartment of your car or as a permanent part of your luggage. Maybe you should get one for both places. The star ratings indicate not only the quality of the design but also how well you can see the house from the street without treading on private property. In other words... it helps you decide if the trip to this site is worth your time and effort. The photos are generally of what you can see from the street, so that you will know you are in the Wright place! The descriptions that accompany each site are not just about the building, but usually more about the owners and their occupations and connections to other Wright clients or interesting people. You will not be able to find this historical information elsewhere. Other sites that will be of interest to the purchasers of this book are ones associated with Wright, like the Auditorium by Adler & Sullivan in downtown Chicago and some buildings that were built after Mr. Wright's death based on archived drawings. When the second edition comes out it should have a spiral binding.



5. I have used my guidebooks for years as a reference resource. Now having them all together in one place makes it much easier to work with and compare photos and notes. The tidbits of information are just enough to get an idea of the house, anymore would make it too difficult to work with as a 'field guide'. I definitely recommend keeping this book on your shelf.

4 comments about Frank Lloyd Wright Prairie Houses.

1. Frank Lloyd Wright's work around 1900 developed what are called the Prairie Houses. These houses split off from traditional American architecture to establish themselves as the start of what is truly American. These houses are open with horizontal lines that reflect the prairie from which they get their names.
   
   One surprising thing about the Prairie Houses is that they still look so modern that they could fit into any new sub-division being developed today. They certainly formed the foundations from which the Bungalow designs which followed.
   
   Another surprising thing about the Prairie Houses is that so many of them remain standing, and that so many of them have remained or been restored to as new condition. After all, these houses are a hundred years old, and many of their light fixtures, cabinets, things that get a lot of ware are still around.
   
   The book is beautifully printed and cloth bound. Another recommended book on a Wright Prairie House is Frank Lloyd Wright's Rosenbaum House which describes the house, but also the effort that it took to restore the house to its original form. The house took $14,000 to build, over a half million to restore.



2. Given the the high quality of Frank Lloyd Wright The Houses, this book was disappointing.



3. In the wake of the magnificent "Frank Lloyd Wright: The Houses", this followup volume disappoints on several levels. I expected some duplication with the earlier book. Certainly, extended coverage of the iconic works such as Dana, Robie and Coonley was warranted. As pointed out in my review of the previous book, many houses received coverage only via a thumbnail photo appendix. I anticipated these works would receive expanded coverage here, for the most part I was wrong. What we get instead is much duplication with "FLW:The Houses": of the 22 houses presented here 15 were in the previous volume. There is also reuse of many of the same photos, sometimes cropped slightly differently sometimes identical. Also disappointing is the size of the new volume. It is quite a bit smaller in format with the resultant lessening of impact by the still great photos.
   To sum up, if I had to buy only one book it would be "FLW: The Houses". This holds true even if my major interest was the Prairie period alone. Will a followup Usonian era volume provide the same needless duplication?



4. A sequel to the early collaboration of Alan Weintraub and Alan Hess on Frank Lloyd Wright houses, this work focuses on a series of houses the Wright office completed at the first decade of the century, dubbed "Prairie Style." The book contains some brief essays, prefaces, and then a series of phenomenal photographs of what are arguably the most influential group of houses of the twentieth century.
   
   Ironically the impact of these Prairie houses was spread through the lithographs of the "Wasmuth Portfolio" - line drawings of these houses that captivated the European modernists when published in 1910. These line drawings are still the way this group of houses is often reproduced, taught, or shown in slides in art history class. This book stands as an immediate corrective to that.
   
   These photographs are extraordinarily rich, and must be said to complement Wright's work quite well. They include luminous photographs of the interiors, beautiful examples of the exteriors, really these are the next best thing to a trip to Oak Park to see the work directly.
   
   I would highly recommend the book to anyone interested in Wright, or architecture, and this book sure would make a perfect gift.
   
   As a very minor complaint, compared to the previous book where the subject was Wright's entire career of houses, as this one focuses on the Prairie Style it would have been nice to have some comparisons to the Prairie work other architects were creating in Chicago. Also, the authors make no acknowledgement that Wright created these houses in the context of an architectural studio practice, and so the efforts of his talented contributers such as Marion Mahoney go unmentioned.

5 comments about Renzo Piano Building Workshop - Volume 1 (Renzo Piano Building Workshop).

1. As much as I like Renzo Piano's works, he can learn something from Norman Foster to properly produce his set of books. These 4 editions are nice size (not heavy like Foster's) so you can bring to your job site or office if you want to show some examples. However, each building is not well documented. the plans have no measurements or too small to read, no scale, and the details are not complete enough. Simply, there are no coherent base of each buildings. Furthermore, the different editions sometimes cover the same building (ex.edition 3 covers Kansai Airport (perhaps too much), but it is also covered in edition 2.
   
   Edition 2 seems to be a compilation of his works from the 80's but it is very difficult to figure out what exactly this book want to focus on. I recommend that Renzo Piano redo this whole editions of which he deserves.



2. As a set this is a great achievement. The books are wonderfully produced with glorious photography, lots of drawings and sketches (both of larger structures and details), stylish typography and a clear, rhythmic page layout. It's a genuine feast to the eye. However, I was slightly disappointed by the first volume's first section, in which Buchanan sets the scene for all that is to follow by providing us some conceptual and genealogical background on Piano's art. Buchanan's lead essay is repetitive, diffuse, conceptually thin and strays too far from the substance of Piano's architectural practice. The section on the 'spirit of the workshop' is really a missed opportunity: instead of a detailed picture of the collaborative dynamics in this complex environment, we get a rather glossy account of Piano's role of 'scout, actor and editor' in the design process. The pages on 'early influences' again are rather sketchy, with brief references to a series of mentors and to the role of the Genuese cityscape on Piano's mental map. From then on the book takes wing: I was grateful for the inclusion of the work in the early Studio Piano, the Piano & Rogers venture (Pompidou Centre) and particularly of the fancyful, but fascinating experiments in the Piano and Rice period. It gives us an idea of the rather exploratory journey Piano had behind him by the time the Building Workshop was established (he was 44 then). Volume I then goes on to document the early years of the workshop. Generally this represents an inconspicuous beginning: we see a lot of fine craftsmanship but there is relatively little that takes your breath away in terms of architectural vision. Compared to the later designs, we see a modesty that is approachable, refreshing and invites careful study. With its mix of full page photographs and thumbnail pictures, sketches and plans, colours and greytones the book never tires. And this applies to the whole series. A laudable example of serious and effective book design! As a whole I have no reservations in recommending this set to anyone remotely interested in contemporary architecture.



3. ...This book along with the previous volume are Fabulous!. Great photo's/details/extensive information about each and every project. Bravo Peter on a great series. Volume 3, is a bit iffy. Even though it continues with the tradition of the other Volumes, it devotes approx half the book towards the kansai airport (which im not particularly fond of). Volume 4 is on the list, those of you in OZ already know about Auora Apartments, an apartment building designed as only the Piano Workshop know how. I'm glad the Piano virus has made its way to Down Under.....Lets just hope its catching! - Check it out.



4. What else would you expect.....a book full of fabulous buildings/details and information bound to inspire ANY student or architect. If your not inspired don't mention your name along with architecture in the same sentence. Truely a GREAT MASTER of the 20th and 21st Centuries.



5. When we talk about prices we should have in consideration that this is a high quality book for a little price, i think is really cheap. Advice: if you like Renzo Piano recent work, just buy it!

2 comments about Art of Japanese Architecture.

1. I know little about Japanese architecture but found this book very instructive and easily readable for the novice. I shared it with freinds who have lived in Japan for over 20 years. They were quite impressed at the authenic quality of the research and the wonderful illustrations. Another friend, a landscape architect, was delighted that so many of the fine photos showed how important landscaping is the Japanese architecture. The photos and illustrations are supurb. The book doesn't just dwell inhistoricism but brings you up to date with modern Japanese works as well. I feel it is one of the best purchases I've made in a long time.



2. After an extensive search, I found the above description of THE ART OF JAPANESE ARCHITECTURE in a Library Journal listing. While there is nothing in book itself or on Amazon to indicate that it is but a revision of Introduction to Japanese Architecture, as a result of comparing the two books in their entirety, line by line and illustration by illustration, I can assure you that this is indeed the case.
   
   In general, both books give one who is not knowledgeable about it an excellent overview of Japanese architecture from its beginnings through modern times via a well-written, easy-to-grasp text. What will also appeal to those just beginning to study Japan is that the architecture is discussed in context--i.e., in a narrative that includes details about locations, gardens, statuary, historical events/people, and religion.
   
   Both books also abound in illustrations, all in color. Of ART's 370, 216 are photographs, 39 of which are 1-to-2-pg. spreads, 80 of which range from 3 x 5 to 3/4ths of a page. Included, too, are the following, which, with 9 exceptions, also appear in INTRO:
   -24 watercolors of sites showing their structures and landscaping, often at least 1/2 a page in size;
   -20 layouts/floor plans;
   -88 drawings/watercolors of individual structures, construction and architectural details;
   -19 paintings and woodblock prints.
   
   As for the differences between the two books-- While ART is 48 pages longer than INTRO, what accounts for most of these pages is the addition of 51 photographs, 32 of which are full- or 2-page spreads, 10 of which are 1/2- to 3/4th-page ones.
   
   In regards to the text, ART adds only approximately 368 lines, the equivalent of 3.5 pages (two 56-line, 2.5-inch-wide columns per page). Though most do add information about the architecture, the additions are scattered throughout the 173-page book and typically amount to but a phrase here or a sentence or two there of descriptive detail. In only 21 instances is a paragraph or two added. And only occasionally is the information a result of findings made since INTRO was published. ART also omits the equivalent of a page of text because it excludes INTRO's section on Tomb Mounds. (Excerpts from it, however, comprise the first "comment" on this review.)
   
   So which book do I recommend? Currently, it really depends on which is more important to you: price or photographs. Be aware, however, that both books paint Japanese architecture in broad strokes--i.e., the details about the architecture of specific structures rarely exceed a paragraph. If you are looking for a book that goes into technical detail, What is Japanese Architecture?: A Survey of Traditional Japanese Architecture will probably be more to your liking even though its illustrations are limited to line drawings. --B. Evans, 1/19/08
   
   Note: If you are trying to compare ART/INTRO with other books, a printable copy of the Table of Contents is in the commentary following my review of Introduction to Japanese Architecture. Unfortunately, neither book has an index.

3 comments about State Houses: America's 50 State Capitol Buildings.

1. Purchased as a gift for someone who loves to visit the State Houses.
   Beautiful photos and history of each capitol- couldn't be more pleased.



2. This is a very well executed book. The images are first rate and the text is highly informative. Every state capitol building is covered extensively and the book is full of great photographs, every state capitol building gets the same indepth coverage. I liked how the book is done in chronological order, you get to see the capitols evolve and see what was considered opulent at the time. I have been waiting for a book like this for some time and am so pleased that Ms. Thrane has put out such a wonderful book. Thank you.



3. If you're interested in architecture or history - especially if you want a flavor for the rich variety of our states and their capitols, this is a wonderful book. The large format photography is excellent and, according to the photographer, used only available lighting. It provides a real sense of the buildings and what has inspired each state. The text also provides a wealth of information about each building. I wish the book had been arranged by when each state attained statehood. A great gift for the traveler for the person who wishes they could travel. A wonderful reference for the library. Or, for me, the latest book on my coffee table.

5 comments about New Classicism: The Rebirth of Traditional Architecture.

1. As an architectural (and photo) enthusiast, I ordered this book and was immediately and severely dissapointed. The photos throughout the book don't showcase architecture very well, nor do they highlight "new classicism" in my opinion. The worst thing is the quality of the photos and printing. I returned this book immediately and would not recommend it, not even for a coffee table book.



2. I love the fact that we're in something of a classical revival in American architecture. We desperately need exposure to these traditions after 60 years of northern European-derived, cheap, pseudo-modernistic schlock. Most of the architects featured in this volume are at the leading edge of the classical revivial in the United States and Great Britain, but the book is really not put together well at all. The photography, critical to a book like this, is good is some places and horrible in others. The text is dull as dirt, despite the noble intentions of the author, and one can't help but think that a few of the author's favorites are in here that, otherwise, would not really meet the standards of a study like this. There's a pretty strong line between fine classical design and overblown tastelessness. To me, classicism is about refinement and delicacy of detail and proportion. This book and some of the entries included within lack those qualities.
   
   I'd like to see more new classicism, but this book should only be considered a "first draft." I know Elizabeth Dowling can do better.



3. That somebody be the author of this architectural publication is inspirational! I bought a copy through [...] and am very pleased that I did.Besides the interesting photographs, there is also very interesting reading about the subject.It's a pity that here in South Africa we don't get to see much of this type of work as it is very appropriate for Democratic Societies, even today!



4. This is a really good book, with vivid, crisp images and interesting and informative text, the other review on this page really has little to do with this book and more to do with the subject, of which they have a very strong opinion..fine..but to give this book two stars is just plain obtuse, i mean granted these present day architects may not be mckim, mead, and white, or carrere and hastings, or Trumbaur..but christ, does that mean their work should not be given a fair assessment, I really think that review is very infair to this book, take on present day high end residential architects fine, but this is suppose to be a review of this book book, not a diatribe on the state of high end residential architects..good grief, we all can agree, that Quinlin Terry, nomatter how good he is, is no Horace Trumbaur or Stanford White, anyway back to the book, lord, i gave it five stars, just to bring it up a notch to four..i think it's really a strong four star. I especially appreciated the images of that massive mansion built by harrison designs out of atlanta, that house looks like something out of the guilding age it is simply spectacular in everyway, the images of it alone are worth the price of this book. All the big names in grand residential architecture are present, i especially appreciated the section on Quinlin Terry, I love his work. Overall, i highly recommend this book to anyone with a love for grand residential architecture, you won't be disappointed, just don't expect to ever see work like that of Traumbaur or Delano and Aldrich, all the great masons are long gone, and nobody is going to spend the kind of time and money it would take to build another Whitmarsh or Biltmore, those days are washed up on the shores of history.



5. My issue isn't so much with this physical book itself - the pictures are big and colorful, although often blurry for some reason - as much as it is with the architecture. Palladian windows and columns are classical elements, and building with brick and stone are classical materials, but architecture is all proportion. With the exception of the Julian Bicknell work, this book is largely haphazard attempts at making new buildings look old by throwing a lot of money at them. What is missing is the understanding of proportion - not just in the Palladian sense - but in the sense of the early 20th century American architects - Lindeberg, Delano & Aldrich, Trumbauer, Mellor, Meigs & Howe, Pope, Platt, and later Adler, etc. And you can throw Lutyens in the U.K. in there as well. Anyway, I guess I would say - you're not likely to learn much from this book, and that if you are interested in the houses that inspired this "new" Classicism, just stick with the aforementioned work.

5 comments about New York Streetscapes: Tales of Manhattan's Significant Buidlings and Landmarks.

1. doesn't mean that I can't recognize a great book when I see one. Christopher has the ability to bring buildings to "life." Andrea Stillman



2. I really enjoyed this book, the photos are so crisp and the text is quite informative. I am pleased that the vast majority of the buildings the author chose are still extant. After absorbing this book, you really appreciate the great architecture and workmanship of the past, the more current buildings in New York just don't measure up. The author does her research and it shows, I highly recommend this book to anyone with any interest in New York, it really is a must have.



3. Some books on the older buildings of New York City will give you the nuts and bolts about the structures: who designed it, who constructed it, when it was built, etc. And some photo books of old New York don't tell you anything at all. New York Times writer, Christopher Gray, with the assistance of the untiring researcher, Suzanne Braley, actually breathe life into these buildings. Not only do we learn the who and the when of a building's birth, but also the why and the how. Why were white brick apartment buildings so prominent at one time? How did the Winter Garden evolve from a huge stable? It's the little and, sometimes, epic anecdotes surrounding the buildings that fascinate Mr. Gray which, in turn, fascinate us. This is an indispensible book for anyone who loves the city, and who has ever stopped in front of a building and asked, "How did that ever get there?"
   
   Rocco Dormarunno, author of THE FIVE POINTS



4. As a New Yorker all I can say is this is the best book I've read about the city.



5. A tremendous gift to anyone who loves the history of Manhattan. Gray writes well, his information is military in both precision and accuracy and the anecdotes alone are worth the price of the book.

   My only wish is that one day, after he retires, a work of all his columns will be published. Perhaps the title "Gray's Anatomy" would suffice.