5 comments about Big House, Little House, Back House, Barn: The Connected Farm Buildings of New England -- 20th Anniversary Edition.

1. The author gives the "how and why the connected farm emerged in the mid-to-late 19th century and the story these buildings tell about the common New England farm and the people who made them."
   Hubka has written extensively about traditional American buildings and architectural design methods and teaches at the School of Architecture and Urban Planning at the University of Wisconsin, Madison.
   I love the old pictures like the one showing a family and horses in front of a Saco house and barn.
   "According to Hubka, the primary reason for connected farms was agrarian reform, which was spurred in the 1840s and '50s by competition from new, larger farms in the Midwest. Connected buildings allowed New Englanders to take on home-based industry, such as candle- and cheese-making, while continuing to farm and still have everything centralized. Fashion also played a part: Connected farms became the latest thing, and keeping up with the neighbors was important even then." (This Old House)
   "An important pioneering effort. The book commemorates both an unique indigenous architectural expression and a way of life that has become extinct . . . The style is economic and clear and Hubka's affection for architecture binds the buildings to their people and their times." -- Maine Sunday Times



2. Very imformative. The images of the older New England homes are very interesting and useful.



3. Lets get this straight, this is NOT a coffee table book - if you want lots of colour pictures of old farms and barns - look elsewhere. What it is though, is a well written, brilliantly researched and documented assessment of a largely by-gone way of life in rural New England. Look - I'm even British and I loved (OK - I do have an interest in New England and architecture)
   
   If you are vaguely interested in old rural life, agriculture, history and social history, or vernacular architecture (or any combination of these) - buy it you won't be disappointed.



4. If you have ever wandered around Maine, you will have noticed a unique form of farm architecture. But ask most people why 19th century Maine farmers made such a concerted effort to physically connect the structures on their farms and the answer is "they needed a way to get to the barn through the winter snow." Trust me, I have gone around and asked current dwellers of Maine farmsteads. Thomas Hubka carefully points out that if that were so, we'd see similar connected farm architecture in parts of the nation where winters were even more inclimate and snowier. Yet Maine farm architecture remains almost totally enigmatic. Hubka's diligent field work reveals that forces were at work in mid-19th century Maine that conspired against the rural farmer: industrial competition for hand-manufactured goods produced at home for cash suppliment, a labor drain to other more prosperous farming regions, and unyielding land. The brilliance of Hubka's work is that he evokes how, despite all this, Maine farmers strove to adapt by creating resilliant islands of industry with the structure of their homes that defiantly sheltered year-round dooryard work efforts from wind and snow, but also change abroad. This book is also a perfect source of pithy detail and illustration regarding 17th century cape-style house architecture which, it turns out, is still ubiquitous in New England. Highly recommended, a stiking work.



5. There's a type of farm layout that you see in New England that you don't see elsewhere in the US. This book is a study of that type of farm, its whys and wherefores, and how it fit into people's lives -- or better, how their lives fit into it.

   This book is written very clearly, with numerous graceful diagrams of floor plans, layouts, and photos of representative farms. The author has a deep sympathy for the ordinary farmers and their taxing occupation, as can be seen in the choice of photos (farmhouse buried in snow, barn on fire, farm family sitting in a front yard still dominated by those granite cobbles you expect to be piled into fences). Diagrams tell the demographic story of why these farms were created, why they belong to northern New England; how they were achieved and how people spent their lives in them.

   For me, the magic comes in because I fell in love with one of these farms, and its sunny Lincoln-era dooryard. It has a subtle rightness because of its orientation, its site on a knoll, and a certain flexibility of layout. But even if you don't have such a reference point, I think you will be impressed at the perceptiveness of the work, if you can muster any interest at all in the topic.

   p.s. I checked on the Web to see if the author is still flourishing. His current project seems to be the wooden synogogues of tiny eastern european towns. Sounds neat...

5 comments about American Bungalow Style.

1. If your curious like me to what exactly is a Bungalow, what their history is, and would like to see lots of full colour examples, then I think you will find this book quite satisfying. Being that there where so many Bungalows built over such a wide geographic area, I doubt if anyone has covered every example of them in one book. So you may end up wanting to buy a few other books (which there are lots of good ones) to satisfy your curiosity. Non the less, this book does give you a good example of American and some Canadian Bungalow history, also it explores each room of the Bungalow and the rooms furnishings, all with quite a few excellent photo's.



2. Wonderful photographs; light, informative reading. What's missing is a better representation of the different regional examples of the bungalow. And they're everywhere.

   Residing in the Chicago area, for example, we have a tremendous variety and number of bungalows. Even in Atlanta, a region more famous for its colonial architecture, I noticed that the Virginia Highlands area also had some marvelous examples of the bungalow style.

   A more appropriate title would be "The California Bungalow" given that nearly all of the examples are located there (and within that state, in Pasadena).

   In other words, worth getting but not the definitive book.




3. This book defines the Bungalow style, explains how it started and flourished, and tells about the men who built and sold them. Then it takes you into still-existing Bungalows across the USA, where the current owners have preserved the period style. Hundreds of beautiful, full-color photographs showcase these homes and give the reader a good feel for the American Bungalow style. At the end of the book there is a list of suppliers, sources of information, and further reading that I found useful also.



4. This has to be one of the best books on art and architecture ever produced. Through hundreds of gorgeous photographs and detailed description, the history and development of the American Arts and Crafts movement comes alive. The author remains sensitive to the fact that most bungalow owners of the early 20th century were not following any set "style," but maintained and decorated their homes according to their personal tastes and means. The result is a presentation which would inspire any current bungalow owners to cherish and preserve their homes as they would works of fine art. In addition, this book contains a handy catalogue appendix listing businesses that deal in reproduction Craftsman style furniture, wallpaper, tiles, fixtures, etc.



5. This book provides preservationists and homeowners alike with valuable information on the architecture and associated style of bungalow homes from the turn of the century through WWII. This is not strictly a history text nor is it strictly a coffee table book. A reader can take pleasure simply from the sheer beauty of the photography -- yet each photograph illustrates important design elements that may be found in bungalow architecture, allowing for careful study. The text, concisely written, provides excellent information on bungalow architecture and furnishings, both from an artistic and social perspective. The book begins with a simple overview of bungalow architecture. It then features photography and detailed text on a number of outstanding bungalow homes in the United States, focusing primarily on those found in California, Chicago, and rarer cases the East Coast. It concludes with a very brief section on currently available Craftsman styled furnishings. As a reference book and style guide, this is an excellent resource that I highly recommended. If you are seeking detailed historic information on Gustave Stickley, the Arts and Crafts Movement, etc., the text is not exhaustive. It is very specific in its scope and presents its subjects quite well -- the American bungalow. If anything, this book is best used to inspire current bungalow owners of the possibilities contained in these remarkable homes

4 comments about George Washington Smith: Architect of the Spanish-Colonial Revival.

1. Our church is changing our open garden to a cloister-type space enclosed by a wall. The church was designed in Spanish Revival architecture so we wanted something in the California Mission style. This book has proven to be an invaluable resource for us.



2. An interesting book from a historical and academic perspective. It is well written and illustrative photos are included. Good as a reference book for architectural style but not a book for those interested in interior decoration.



3. When one thinks of southern california architecture, spanish colonial revival style always comes to the forefront and George Washington Smith was at the apex of the style. This is a well researched and chronicled book on this singular architect. The images are crisp and well thought out. This style of architecture suits the mediteranian climate of southern califoria perfectly, it really is the perfect blend of style and setting. When someone asks me, where would you live if you could choose anywhere and i always answer, Santa Barbara, where spanish colonial revival florishs unabated and the sun shines year round. If you have any interest in great residental architecture or just appreciate wonderful books, then i cant imagine you being disappointed in this purchase. Highly recommended.



4. Patricia Gebhard has done a superb job in carrying on the tradition of David Gebhard, her deceased husband, who was masterful at the collection of information on architecture and able to portray it to the reader in a very logical way. It is the most completely detailed book written yet on George Washington Smith, one of the most forward and original developers of the the Spanish Revival style that swept America in the 1920's and has enjoyed a rebirth in recent years. The illustrations are excellent throughout the book, both old and new ones. Anyone interested in this style of architecture, whether an architect, designer or any person interested in this style that has left such an important mark in American architecture, should buy and enjoy this book.

5 comments about 100 Contemporary Architects (Taschen 25th Anniversary).

1. Amazon claimed they were sending a new book but it arrived with a peeled spine. They claimed that it would be replaced but nothing arrived. This
   is the first time I have experienced poor service and not from a vendor,
   but rather, Amazon itself!



2. This is a nice little coffee table styled book on architecture and artwork, showcasing about 92 architects and a few of their works. Its small size makes it easy to take along with you wherever you go.
   
   Each architect gets two pages devoted to them, comprising a brief biography highlighting some of their notable works, as well as photos and/or sketches showcasing one or two of their works.
   
   Some of the architects and works featured include Alberto Campo Baeza (Center for innovative technologies in Majorca), Will Bruder (Byrne residence in Arizona), Frank Gehry (Experience Music Project in Seattle), Arata Isokazi (Shizuoka convention and arts center in Shizuoka), Polshek Partnership (the very space age Rose center for earth & science in New York), and Richard Rogers (Law courts in Bordeaux, and Millennium Dome in London).
   
   A good book.



3. Valuable book according to price. However there is a small binding problem in my copy...
   Yagmur TOPRAKLI



4. The author of this book has done a fine job of showcasing recent modern architectural projects of interest to the general population, as well as to architects and structural engineers working in the profession. I am a structural engineer, and I purchased the book because two of my friends, and one of their projects, are featured in the book. I also happened to work on that paticular project, and was interested in having a published record of the project along with my own project files. The book is well written, has wonderful photographs, and is a fine addition to the genre of "coffee table architecture books". Mr. Jodidio is to be commended for writing this book.



5. Despite of being on of the most interesting book which gather many architects and many styles, this fourth version is not as good as the other 3, although it reflect the kind of architecture being used at this moment all over the world.

4 comments about The Visual Dictionary of American Domestic Architecture.

1. Not a bad book on U.S. architecture - the best part is the focus on details which can give the viewer visual clues as to the probable history and or origin of a house long after the structure may have been remodelled. The focus on vernacular architecture is also apprecieated as there are more small family homes on a budget in this country than there are big ostentatious mansions built by people with more money then sense and or taste.



2. Although the illustrations in this book are not as beautiful as the ones in Lester Walker's "American Homes", this book is very ambitious in its presentations. Many field guides to American homes concentrate solely on identifying a style. Usually, there are only a few brief descriptions of the architectural details that help define a style.
   
   What makes "The Visual Diction of American Domestic Architecture" such a pleasure is the sheer ambition of its coverage. Not only are there detailed descriptions of building exteriors, there are also detailed desciptions of interior features. As an example, not many field guides detail interior framing plans or such important features like staircases and fireplaces. If that were not enough, there are also some representative floor plans.
   
   I have been collecting field guides for a number of years and this is one of the best. If you want to go beyond picking out key features of a distinct architectural style and want to delve deeper into building details, this is the book for you. Highly recommended.



3. I guess it isn't an easy thing to compose an illustrative guide on such complicated and multilayered portion of Architecture as American domestic styles, but all are included here: easily recognizable types, details, even construction methods! Special thanks to the Illustrator: the pictures are neither "overillustrated" nor of too "academic" appearance - just restrained professional still artistic graphic. As an international Architect often working for an American architectural firm I will surely make use of it.



4. Not comprehensive enough in scope to be a true dictionary of architectural style, but certainly provides the visual images necessary to recognize the styles. Included floor plans also demonstrate the various modes. Good survey of vernacular styles, often overlooked in other texts.

4 comments about Mexicasa: The Enchanting Inns and Haciendas of Mexico.

1. I can't say enough about the quality of the pictures in this book. Startling and brilliant color. Nice writeups about the inns and haciendas. For anyone traveling to Mexico and looking for unique and historical places to stay, this would be a great book to read before the trip. Highly recommend.



2. You can almost feel the colours and shapes, taste the food and smell the flowers in this lavishly illustrated book on Mexican Haciendas and Hotels. I can see why allot of the people that started these Inns sold everything they had and moved to Mexico to start a new life. This book will be an inspiration to architects and would also make a great coffee table book. Be careful to check the binding when you get it. The glue on mine all fell off in chunks after the first read!



3. This book is good, maybe even great, but still can't compare to Melba Levick and Masako Takahashi's AWESOME "Mexicolor". Masako's other book, "Mexican Tiles" comes close, and still edges out "Mexicasa" a little bit as well, so when all is said and done I think I just have to chalk it up to Masako's EVIDENT love and appreciation for the unfathomable beauty of things Mexican. Melba Levick seems to me to see things more from the outside looking in, and without so much PASSION, kind of like a more disinterested spectator than a participant, but that could just be my opinion.

   That said, this book is is REALLY NICE. I DO really like it and I highly recommend it- especially if you already own and really liked "Mexicolor" and "Mexican Tiles". Or if you aren't so much into artesanias and Mexican interior design, but are more of an armchair traveler or are interested in actual historic hotels and haciendas.




4. What Gina Hyams and Melba Levick have created here is a wonderful compilation of photos of 21 of Mexico's most spectacular and beautiful inns and bed & breakfast places.
   Melba Levick must have had a ball taking these shots. There's hardly a picture that isn't beautiful in its own right - and there must be at least 300 of them. For this observer, the Mexican talent for blending and matching and mixing colors is the highlight of page after page. We see gardens and patios and pool areas and bedroom and dining areas and a host of living spaces where the eye is simply enchanted by the way the owners of these homes have decorated their various spaces. My own personal favorite is, of all things, a bathroom wall composed of talavera tiles where almost no two tiles on the wall match each other.
   All the houses are fully described by Gina Hyams and in most cases she gives us anecdotes and stories about how the various places came about. Thus, for instance, in Hacienda Katanchel in the Yucatan,we read that the present owners discovered the place in 1996. It had been abandoned for 35 years and originally dated back to the 17th century. So what they acquired were 740 acres of dense jungle in which were buried many crumbling buildings with trees growing through walls and ceilings. They gradually cleared the mess away and started building and renovating in a blend of Mexican, Mayan and Spanish styles. And you should see the place now.
   On a less ambitious scale, we read about Mesón Sacristia de la Compañia in Puebla. This began as a family-run antique store which the owners turned into a restaurant and then an inn. It has one extra little twist for people who stay there - everything in the place is for sale. The owners are continually having to replace dishes and furniture.
   And so the stories go... Pick up a copy and give your coffee table a treat.

5 comments about Cottages by the Sea, The Handmade Homes of Carmel, America's First Artist Community.

1. If you're into Carmel like I am, you'll love this book, perfect to browse through when you get sentimental and miss Carmel and it's beauty... I keep it at my coffee table, so guests who've never been there can look, ooh and ahh, and daydream of what it might be like to go there. Nice and thoughoh, <--sp? but yeah, it's a great, great book, definately buy, if anything just for the pretty pix.



2. I keep this book nearby, like a bouquet, to look at from time to time for the simple pleasure of it. The pages convey not only the
   architecture of a period and place, but the personality of an era.
   This is a companion book; to be cherished forever.



3. I'm not sure how attractive this book would be to the general public. For me, it reveals the stories behind many of the houses I grew up with. As a Carmel native, I enjoyed learning the stories and histories of many of our local homes. The photographs are nicely done, and the text tells the information in an interesting presentation. I do wish that a local map had been included, to help pinpoint the location of some of these homes.



4. I am an architect. I live near Carmel and have a special fascination for these houses. Applause to the author. There are lots of beautiful photographs and the history is facinating. I would always like to see more diagrams, interesting details and floor plans, especially for the house called "Hansel". However, this is an excellent book, the best one available on the subject.



5. I opened this book as one would a box of expensive hand-crafted Belgian chocolates and savored each page. The photos are luscious, the text tart and logical. Interior and exterior views of cottages and Jeffer's stone tower remind one of European villages.

   Sarah Susanka's "Not So Big House" and "Creating the Not So Big House" are both good, yes, but nothing in them sets off the same resonate sensation as seeing "Cottages by the Sea." This is what real homes can be: shelters for the mind, body and spirit, places of rest, security and inspiration.

   I'd write more, but excuse me---I'm booking a trip to Carmel.

5 comments about The New Urbanism: Toward an Architecture of Community.

1. I grew up in what new urbanists would probably call a paradise. It was a real community in which neighbours were really neighbours. People did sit on their verandahs and converse with their neighbours on the street. There was an understanding that one could borrow things if the owner wasn't using them. It was considered polite to tell the owner if he was there but if he was away one could just borrow the thing and tell him when he came home if one was still using it. In short it was everything new urbanism wants. This was in a moderately large city in Canada.

   There were two things wrong with this paradise:

   a) it was not about verandahs, facing the street etc. It was about control and conformity. The neighbourhood protected itself by frowning on unexpected behavior. There was an expected range of interests and an expected range of activity. If someone went out of this range, one could expect social sanctions unfailingly. The dark side of Jacobs 'eyes-on-the-street' is Foucault's 'gaze.' The neighbourhood worked as an exercise in power. The verandahs and street life were instruments of that power. Heaven help anyone who had non-standard interests.

   b) the neighbourhood was unsustaining. With the growth of the personal rights ethos, the ability of the neighbourhood to control its inhabitants fell away. No longer could the neighbourhood fathers take action to control petty teenage misbehaviour. Instead personal rights and social policy took these controls away from the neighbourhood and gave them to government agencies. As a result the neighbourhood is now perhaps not unsafe but definitely uncomfortable. No one leaves tools or equipment out now in case a neighbour needs to borrow it. Everything is locked up. The doors are firmly closed and neighbours now complain to the police instead of discussing thier joint problems.

   New urbanism seems to miss this point. Neighbourhoods are about local power. For some people this produces a comfortable paradise. For those slightly different it creates a jail of conformity. Some people thrive in it. Some peole will be stifled. Neighboourhoods are an exercise in hopefully beneficent control. Architecture does not create this control. It can destroy it certainly and make it impossible but it cannot create it.




2. I have only had the book a day and already it has given me great pleasure and joy. I love the fantastic pictures and diagrams. The computer digitalizations on a few existing towns today and what they could be like were truely fasinating. I couldn't help not liking the indepth descriptions of numourous cities, towns, and villages from around the country and canada as well. This book had colorful photos and diagrams, this book to me is pure genus!



3. A very good appraisal of design examples of new communities with also a consistent theoretical approach to New Urbanism concepts. This is a necessary reading to those that want to be updated with the best design practices of integrated urban spaces.



4. The basic principles presented in this book are the stuff that dreams are made of. I have shared the ideas presented in this book with many of my friends and they all want to live in communities such as this. We've been strip-malled, mega-malled and automobilized to near-death. New Urbanism as presented here is like a million breaths of fresh air.

   It is best to read the basic principles presented in the front of the book first. It may look like dry reading at first but as you get into it, your interest will be piqued at first, then grabbed, and you won't want to put it down till you've read it all. Having read this part you will be armed with the knowledge that, to date, no development or developer has had the guts to follow the principles completely. All of the projects presented include some elements of New Urbanism but none of them have it right. One of the other customer reviewers of this book, Ken Wing, missed this entirely. Hey Ken, there is no people in the Seaside pictures because they want the reader to see the architecture! Those who don't get it, or are afraid of change, tend to trivialze New Urbanism and mis-represent it.

   Once you have read this book, you, like myself will want to immediately pack up and move to a New Urbanist community. Better ones are coming out of the ground each year and I hope to see one near me real soon.




5. This is a good book about bad ideas which-because of their influence-simply must be read. The problems with New Urbanism stem from five implicit premises it shares with other approaches to city planning. Consider them in turn.

   1. The same design approach is appropriate for both cities and suburbs.

   Peter Calethorpe claims the application of urban design principles "regardless of location: in suburbs and new growth areas as well as within the city" is a "simple but unique contribution of this movement." City planning, however, has often applied suburban principles-such as buildings as islands in a sea of grass-in both cities and suburbs. New and old share the underlying belief that the design problem of cities and suburbs is similar. Yet 40 years ago, Jane Jacobs showed us that cities were places where people had to feel safe amidst strangers, which fundamentally distinguished them from suburbs and small towns. The result when premise meets reality is laughable.

   For example, the chapter on the upscale, private golf community of Windsor, FL devotes four full pages to the castle-like entrance building where visitors must pass a security checkpoint. Perimeter walls form an important design element of South Brentwood Village, CA. The text and captions don't mention them, but they show clearly in the illustrations. Unless New Urbanism's model is the medieval walled city, it is hard to see these as urban.

   2. Community is primarily a matter of buildings and their arrangement.

   Those who have not received years of professional training easily fall into the trap that community has to do with people. Planners know better. Community is about buildings and the spaces they enclose. The planners' view is most apparent in the illustrations they choose. Seaside, FL's chapter is typical. Seaside requires front porches, because they supposedly encourage sociability. Seaside's front porches appear in 17 photos. Exactly one porch is in use. Of the six photos showing Seaside's public pavilions and gazebos, but one is in use. The photo of the pedestrian-friendly sand walkway is empty. The planners are proud of their porches, pavilions, paths and gazebos. They constitute "community." Who needs people?

   3. Appearance is more important than functionality.

   Planners design and evaluate with primary reference to aesthetic standards. The design must work at some level, but that limits rather than drives what the planner does.

   For example, the proposed conference center entrance in Montreal is a grand staircase, but it is hard to imagine anyone using it except joggers seeking a challenging exercise regimen. A large stair is also proposed for a park in Communications Hill, CA, not to get up and down, but to "terminate the view from a nearby street."

   The plan for part of Brooklyn, NY, shows a seven block length of Atlantic Avenue taken up by five buildings with nearly identical facades, three one-block long, and two two-blocks long, blocking two cross streets. The centerpiece of this stretch? A two-block-long parking garage. Does anyone really believe vibrant street life could exist here?

   4. Inside the boundary, plan. Outside, ignore or conquer.

   A convention of the planning field concerns how the area surrounding that planned for is portrayed in plans and renderings. Of course, the planner's work is always shown in living color and full detail. Two basic approaches are followed in showing surroundings. In one, surroundings are simply left out, as if the planned area were a space station, or the sole settlement on a virgin continent. In the second, surroundings appear in monochromatic outline, making the viewer aware there is a context, but giving little information about it. Whether this convention is cause, effect, or coincidence, what is clear is that it strongly parallels planners' values and thought process.

   This premise can be seen in action in what is perhaps the worst single design feature in the book. A "major goal" for the Clinton area of New York City was preservation of the few remaining low-rise buildings, including a corner gas station. To the planner, this meant the gas station was "outside" the planning area. Not content with surrounding it with an eight-story building taking the rest of the block along both street frontages, the planner proposed building a canopy on air rights over the gas station, thus engulfing it, amoeba style. Such bizarre design makes sense only when one starts from the planner's premise that what is outside the plan is at best something to be ignored, and at worst an obstacle to be overcome.

   5. Give planners complete control. They know best.

   The desire of planners for complete control is evident from the opening essays, where the wants and ideas of "businesses and public officials" are referred to as "hurdles," and the changes a planner makes to incorporate others' ideas are called "accommodations" and "compromises." Examples of building codes to limit architects and builders to the planners' vision grace several chapters. The pinnacle of control is achieved in Mashpee Commons, MA, where the developer retained ownership of streets to avoid zoning setback requirements.

   The premise that we would all be better off if we would just do what the planners want stems from their deep seated belief that they know best. I hope it is apparent by now that this hubris has no basis in ability or performance.

   As horrifying as these five premises are, it hasn't stopped New Urbanist planners from getting plenty of work, and in many cases getting their plans built. For suburban developers trying to create a simulacrum of pre-WWII, small-town America ala Disneyland's Main Street, the New Urbanism is probably harmless. For cities, the stakes are considerably higher. Cities have already suffered immensely at the hands of planners, and in their current state can hardly afford another round of arrogant ignorance. New Urbanist planners have already been to work on New York, Los Angeles, and Montreal. Read this book before they come to a city near you.

No comments about The Houses of Martha's Vineyard.

3 comments about The Complete Taj Mahal.

1. Having visited the Taj Mahal, I wanted to have an authoritative book on the history behind its construction and this book is not only an excellent souce, but also a very good photographic record of this amazing Wonder of the World!



2. Having read a number of books about the Taj Mahal, including the recently published one by the Prestons, I would bet good money that if given a copy of Ebba Koch's book to preview, those truly interested in India's national treasure will buy THE COMPLETE TAJ MAHAL, even if they have to skip lattes or lunches to afford it, even if they have already done so to afford Okada/Joshi/Nou's Taj Mahal with its stunning photography.
   
   One reason, of course, is that TCTM is so complete. To others' overviews of the material covered, I would add only that Koch does not neglect the human element. For example, in eight introductory pages of text, Koch provides excellent background information about Shah Jahan, his wife and his predecessors; later, she details Jahan's passion for building. Koch also includes interesting information about the artisans, craftsmen and laborers who did the actual work as well as details about others associated with the Taj-related structures/gardens of Agra. Further humanizing the story of this garden city are colorful Mughal paintings of its nobility and rulers.
   
   Another aspect of TCTM that makes it a must-have are the many photographs of sites, structures and architectural ornamentation, photographs "The Hindu" declared "often brilliant" as well as "judiciously chosen." Just how apt these descriptions are is suggested by the following: There were only seven pages of O/J/Nou's photographic extravaganza of the Taj complex that I photocopied to tuck into Koch's book, and of them, five were additional close-ups of floral inlays and calligraphy. Adding to the appeal of TCTM is that the camera goes beyond the splendors of the Taj complex. Of special interest to those who have been in Agra, for instance, will be the realistic photographs of the Taj Mahal peeking above the "agglomeration of haphazard constructions" that have "almost obliterated" its bazaar and caravanserai. Shown, too, are its architectural precedents as well as artisan workshops and quarries. Though most of the photographs in this book are in color, even those in black and white are revealing.
   
   Also making TCTM next to impossible to resist are the "company drawings," most of which are in color as well. Forerunners of postcards, they were "made by local artists in the early days of the Raj" for European tourists, who bought them "to illustrate their journals." Works of art in themselves, often the drawings are so detailed that they could easily be photographs. But they do not serve as mere eye candy: many are of Taj-related structures that no longer exist or have been stripped of all that made them magnificent; some are juxtaposed with recent photographs to show the toll time has taken on the brilliance of color and intricacy of design. Evocative paintings and watercolors of the Taj Mahal by foreign artists are included as well.
   
   What may ultimately sell people on TCTM, however, is that it is a book they will actually enjoy reading much if not all of. Not only is Koch's narrative writing fluid and easy-to-digest. Even her descriptions of architecture will be relatively easy for laymen to understand, provided that they are willling to refer to the glossary of terms and look at the many visual aids, including Barraud's "precise and clear" line drawings, that accompany the text. So well done is this book, in fact, that as "The Hindu" noted, even "information which is more technical and not at face value so interesting to general readers will, in fact, be found by them to be equally absorbing." (All I would personally exclude from this are the two pages of precise measurements of the Taj complex.)
   
   To another reviewer's assertion that TCTM is a book that "should be in the library of anyone fascinated by the Taj Mahal, not just historians and architects," I add a thousand "Amen's." --B. Evans, 4/14/07



3. A superlative volume showing in detail and with historic drawings, maps, and photos, as well modern illustrations and reconstructions the unsurpassed achievements of the Mughal in residential garden architecture. The riverbanks of the Yamuna River as it passes through Agra was where this artistic impulse achieved culmination in the seventeenth century garden residences and tombs sponsored by the nobles and rulers of the Mughal state and built by the craftsmen of India. One of the signal contributions of this book is the inclusion of the stories of the architects, carpenters, and masons who left their signatures and marks on the individual elements of the overall project. The residential and tomb gardens which stretched along the river and are now mostly gone gave way at midpoint to the grandest residence of all, the Red Fort which remains today the second greatest landmark of Agra. And at the southern end of the development stands today the greatest tomb ever built, one of the architectural wonders of the world, the Taj Mahal. The work is so complete that it documents not only the construction efforts but also the tourism that followed and the depth to which the Taj Mahal became embedded in the consciousness of the world. The culmination of three decades of meticulous research this substantial volume tells an engrossing story of the planning, development, and eventual decline of a unique garden city. It more than fulfills the adjective "complete" and should be in the library of anyone fascinated by the Taj Mahal, not just historians and architects. A truly extraordinary accomplishment.