Architects and art lovers everywhere will enjoy this remarkable collection of interviews from sixteen of the world's most celebrated, thoughtful, and innovative architects who have designed many of the world's greatest museums. Spanning generations, geographies, and methods of architectural practice, these architects share the complex and fascinating process of creating spaces for art. Building Culture includes interviews with: ​​

• Frank Gehry, who reveals how a half-century of dialogue with the visual arts influenced his revolutionary Guggenheim Bilbao​.
• Kulapat Yantrasast, who describes his rethinking of exhibition design and how it expands the presentation of work in venerable institutions like the Metropolitan Museum of Art, where he is currently redesigning the galleries for the arts of Africa, Oceania, and the Americas​.
• Walter Hood, whose long interest in improvisational techniques in music informed his design for outdoor performance spaces in the Oakland Museum​.
• Elizabeth Diller, whose conception of the Shed in New York City's Hudson Yards was influenced by decades of work in conceptual and performance art.
• Esteemed architects who have designed, renovated, or created galleries for MoMA, the New Museum, and the American Museum of Natural History in New York; the National Gallery and the Tate Modern in London; the Pérez Art Museum Miami; the CentrePompidou in Paris, the 21st Century Museum of Contemporary Art, Kanazawa in Japan; the Museum of West African Art (currently under construction) in Nigeria; and many others. ​
  

This lively compendium reveals intensely varied architectural philosophies from a diverse group of established and up-and-coming professionals. Engaging personal recollections of relationships with artists and curators, along with 80 captivating images, provide further insight into the design process and timeless inspiration for architecture students, artists, museum professionals, and anyone fascinated by architectural design, public space, and museum culture.

For the Swiss-born architect and city planner Le Corbusier (Charles-Édouard Jeanneret, 1887-1965), architecture constituted a noble art, an exalted calling in which the architect combined plastic invention, intellectual speculation, and higher mathematics to go beyond mere utilitarian needs, beyond style, to achieve a pure creation of the spirit which established emotional relationships by means of raw materials.
The first major exposition of his ideas appeared in Vers une Architecture (1923), a compilation of articles originally written by Le Corbusier for his own avant-garde magazine, L'Esprit Nouveau. The present volume is an unabridged English translation of the 13th French edition of that historic manifesto, in which Le Corbusier expounded his technical and aesthetic theories, views on industry, economics, relation of form to function, the mass-production spirit, and much else. A principal prophet of the modern movement in architecture, and a near-legendary figure of the International School, he designed some of the twentieth century's most memorable buildings: Chapel at Ronchamp; Swiss dormitory at the Cité Universitaire, Paris; Unité d'Habitation, Marseilles; and many more.
Le Corbusier brought great passion and intelligence to these essays, which present his ideas in a concise, pithy style, studded with epigrammatic, often provocative, observations: American engineers overwhelm with their calculations our expiring architecture. Architecture is stifled by custom. It is the only profession in which progress is not considered necessary. A cathedral is not very beautiful . . . and Rome is the damnation of the half-educated. To send architectural students to Rome is to cripple them for life.
Profusely illustrated with over 200 line drawings and photographs of his own works and other structures he considered important, Towards a New Architecture is indispensable reading for architects, city planners, and cultural historians―but will intrigue anyone fascinated by the wide-ranging ideas, unvarnished opinions, and innovative theories of one of this century's master builders.

This book is a heterogeneous collection of writings, speeches, and interviews. Read together, they reveal the breadth of Mies' deep engagement with architecture and education in Germany and the USA. By including both written and spoken words, the co-editors reveal how Mies was able to extend his influence well beyond the classroom-studio and the profession to reach a general audience eager to learn more about his architectural philosophy during a time of great cultural and societal upheaval.

Founded on a series of lectures architect Donald H. Ruggles has given over the past ten years, Beauty, Neuroscience and Architecture: Timeless Patterns and Their Impact on Our Well-Being postulates that beauty can and does make a vital difference in our lives, including improving many aspects of our health. In this volume, Ruggles suggests that a new, urgent effort is needed to refocus the direction of architecture and art to include the quality of beauty as a fundamental, overarching theme in two of humanity's most important fields of endeavor--the built and artistic environments.

Since the beginning of time, Ruggles notes, people have looked for certain patterns and a balance of space. . . . There is a deep-seated need for beauty and when that need is filled, a sense of safety and comfort is created. In Beauty, Neuroscience and Architecture Ruggles draws on more than fifty years of architectural experience to delve into the forces behind the transformative emotion of beauty. Focusing on new discoveries in the science of the mind and neuroscience, as well as recent developments in ­fractal geometry theory, microbiology, and psychology, Ruggles leads the reader on a journey through architectural and art history to discover the importance of patterns in our perception of beauty--and its emotional content.

Sixteen of the acerbic historian's essays and book chapters have been selected by the book's contributors, ranging from classics such as 'The Great Gizmo' to lesser-known texts, such as 'The Wall', an intimate confession he penned at the hospital shortly before his death. Each is accompanied by a contemporary response that contextualises Banham's text, drawing out reflections on what the critic's work means today.

Point Line Plane is architectural theory, but written as narrative, full of intriguing vignettes, such as the fact that in Ancient Rome windows were fitted with slices of marble because glass was so expensive. It's written in a very Japanese form: a series of mini essays that circle around a theme and is aimed at a highly literate audience.

Seventy-two related essays across four sections set out Kuma's rejection of the architecture of volume and mass that categorized the twentieth century in favor of a more ad hoc architecture that can be easily disassembled and, by drawing on tried and tested practices of the past, touch the earth more lightly.

Award-winning architects Paul Lewis, Marc Tsurumaki, and David J. Lewis's essential guide to section. Section, along with plan and elevation, is one of the most important representational techniques of architectural design. Manual of Section is the first book to provide a framework to describe and evaluate this fundamental design process in architecture.

Divided into seven categories of section based on extensive archival research:
- Range is from simple one-story buildings to complex structures
- Features stacked forms, fantastical shapes, internal holes, inclines, sheared planes, nested forms, or combinations of each
- Includes sixty-three intricately detailed cross-section perspective drawings of many of the most significant structures in international architecture from the last one hundred years

A must-read for all designers associated with the built environment and should surely be on the library shelves of every architecture, urban design and interior design school...the intricate drawings provided by LTL are sure to inspire all those who have the privilege of cracking the spine of this amazing reference. --Spacing

In addition to the incredible cross-section drawings, the book includes smart and accessible essays on the history and uses of section.

Manual of Section has become a top architecture book for architecture students and professional architects.

Felix Candela, one of the most important and iconic architects of the 20th century, became world-renowned for his many captivating concrete-shell structures in Latin America and across the globe. Félix Candela From México City to Chicago provides a unique lens in the specific political, economic,
and material conditions that always surrounded, often promoted, and occasionally inhibited his work.

To understand the timeframe of the 1970s, different essays had to delve into archives and conducted interviews with his former friends, students, and colleagues at the University of Illinois at Chicago where he was teaching. Many of these findings will be presented here for the first time, aiming to illuminate this complex constellation of inventions, events, and external forces that surrounded Candela's work.

This book compiles more than sixty tips from a broad range of successful architects and design professionals from around the world. Organized by theme in seven broad categories--Beginnings, Inspiration, Values, Engagement, Process, Personal Development, and Determination--this book of advice offers thoughtful and thought-provoking guidance on such topics as:

• Designing what you believe in
• Learning from other disciplines
• Serving humanity
• Learning how to say no
• Viewing artificial intelligence as an asset, not an enemy
• And much more

DIVERSE CONTRIBUTORS: Architects of all ages and backgrounds and from around the globe are included, with such notable contributors as Elizabeth Diller, Thom Mayne, Gregg Pasquarelli, Winka H. Dubbeldam, Yung Ho Chang, and Jeanne Gang.

ARCHITECTURE GIFT BOOK: This handsomely designed hardcover volume is crafted for designers and architects. The bold cover, clean typography, black-and-white photographs, sketches, and line drawings throughout create an appealing aesthetic around its instructive and inspiring content.

WORDS OF WISDOM: Perfect for architecture students, recent graduates, and advancing professionals, this book of tips makes an excellent gift or self-purchase for anyone looking for inspiration, good ideas, and help from architects and design professionals at the top of their game.

Periurban Cartographies looks through the prism of the almost
urban to consider what a city is or could be. In doing so, the book
challenges assumptions and reconsiders design practices.

The research reported upon in this study draws on thick
description of everyday life and diffuse power in periurban Gangetic
West Bengal/Kolkata. It does so in the hope of enriching our
understanding of incremental modes of political empowerment and
the futures they make. The intention is to not just communicate the
transformations at work in creating a particular kind of urban, but
also to point to connections that make us rethink the ways in which
change happens.

The book is a contribution to work being done on urban theory-
building from elsewhere than the Global North, specifically from
Asia, and periurban Gangetic West Bengal/Kolkata. It is not simply
a look at a novel and singular condition in and of itself but uses that
singularity to better understand periurbanism generally and urban
political ecologies particularly. Current scholarship in urban political
ecology reminds us of some of the enduring tensions around the conceptualizations of region, socio-natures and agency, and
practice. The urban political ecology approach in this book offers a
way of moving past some of these tensions.

Despite the increasing numbers of people who now work from home, in the popular imagination the home is still understood as the sanctuary of privacy and intimacy. Living is conceptually and definitively separated from work. This book argues against such a separation, countering the prevailing ideology of domesticity with a series of architectural projects that illustrate alternative approaches. Less a monograph than a treatise, richly illustrated, the book combines historical research and design proposals to reenvision home as a cooperative structure in which it is possible to live and work and in which labor is socialized beyond the family--freeing inhabitants from the sense of property and the burden of domestic labor.

The projects aim to move the house beyond the dichotomous logic of male/female, husband/wife, breadwinner/housewife, and private/public. They include the reinvention of single-room occupancy as a new model for affordable housing; the reimagining of the simple tower-and-plinth prototype as host to a multiplicity of work activities and enlivening street life; and a plan for a modular, adaptable structure meant to house a temporary dweller. All of these design projects conceive of the house not as a commodity, the form of which is determined by its exchange value, but as an infrastructure defined by its use value.

Range of topics are diverse: an architectural phenomenology of water, architecture and landscape rethought, ancient Greece to India, The Buddha's house to the modern house in India, the architecture and landscapes of Louis Kahn. Le Corbusier in India, the architecture of Balkrishna Doshi, and other original topics such as the destruction of buildings as a ritual necessity.

Reading and pondering over Kazi's writings, I am reminded of my personal journeys and learnings... Architecture is not merely a static dumb built form but is a cosmos in itself. Not merely produced theoretically but created through varied moods and activities of life, place, space, and ecosystems. Theoretically-- arguably and rationally -- functions or activities or appearances are organisms, but not if not seen holistically. Hence, Vastu is not only an environment and not merely an object but has an all-pervading soul, and this is what Kazi conveys through his travels and experiences. --Balkrishna Doshi on The Mother Tongue of Architecture

The Empty Room, in the absence of any visual materials, was a written manifesto composed of RZLBD's poems and collection of quotes intended to portray the room and the emptiness as the essence of architecture. Now, 100 Rooms complements our own blurry images of the empty room with a visual guide. Each spread consists of a plan and a physical model of a room, which is an excavation of the geometry and order inherent within the square. It holds no design intention -- no scale or function -- but simply one of infinite possibilities that emerge from a square. This framework suggests that the formal expression of a room comes from within. With these visual references, one can begin to imagine many approximations to the empty room. A line on paper is always less, as Kahn says, but through these measurable means, the immeasurable idea of the empty room will be formed in one's mind.