2018 Holiday Gift Books

For this year’s roundup of Holiday Gift Books I’m highlighting 36 books by the same number of publishers, arranged alphabetically by publisher – from Actar to Yale. Titles link to IndieBound and covers link to Amazon for easy gift-buying.

Actar
Álvaro Siza Viera: A Pool in the Sea
By Kenneth Frampton, Vincent Mentzel

A slim, 92-page book that sees Siza, with Kenneth Frampton, revisiting the great pool he designed more than 50 years ago in Leça de Palmeira, Portugal.

ar+d (Applied Research + Design)
Towards Openness
By Li Hu, Huang Wenjing

A really nice monograph on OPEN, the firm led by Li Hu and Huang Wenjing that recently completed the UCCA Dune Art Museum.

Arquine
Mexico City Architecture Guide
By Miquel Adrià, Andrea Griborio, Alejandro Gálvez, Juan José Kochen

One of these days I’ll make it south of the border to see the great architecture in Mexico City. When I do, I’ll have this excellent guide to steer me around.

Birkhäuser
Herzog & de Meuron 1978-1996, Volume 1-3
By Gerhard Mack

A reprint of the first three “Complete Works” on the influential Swiss architects. Per the publisher’s website, the set is in German/English, not just German as in the links above.

Circa Press
Archigram – The Book
By Warren Chalk, Peter Cook, Dennis Crompton, Ron Herron, David Greene, Michael Webb

I’m excited to get my hands on this large-format book that catalogs Archigram’s activities in the 1960s and 70s and includes 165 pages from the ten Archigram magazines.

Clarkson Potter
Daniel Libeskind: Edge of Order
By Tim McKeough

An artistic, and visually dense and layered take on the architectural monograph, Edge of Center runs through Libeskind’s life and important projects. Told in first person through collaborator Tim McKeough.

Columbia Books on Architecture and the City
A House Is Not Just a House: Projects on Housing
By Tatiana Bilbao

This petit book transcribes a lecture given by Mexican architect Tatiana Bilbao at Columbia GSAPP in October 2016. With a focus on housing, Bilbao makes many logical arguments for improving housing for all.

Hatje Cantz
Neutelings Riedijk Architects: Ornament & Identity
By Neutelings Riedijk

Neutelings Riedijk’s buildings and projects are presented in twelve thematic chapters (seam, pattern, cutout, etc.) that focus on expression and identity in a globalized world.

Images Publishing
Architecture Can!: HWKN Hollwich Kushner 2008-2018
By Matthias Hollwich, Marc Kushner

Closer in size and proportion to a guidebook than a traditional monograph, HWKN’s first monograph mixes their words and renderings with professional photos and images from social media.

Island Press
Copenhagenize: The Definitive Guide to Global Bicycle Urbanism
By Mikael Colville-Andersen

I learned about Mikael Colville-Andersen many years ago through Flickr, where he has thousands of photos of people on bikes, both in his native Copenhagen and in many other cities and countries. This book collects his thoughts on bicycles and their place in cities.

Jovis
Japanese Creativity: Contemplations on Japanese Architecture
By Yuichiro Edagawa

Architect Yuichiro Edagawa explores the roots of Japanese creativity in architecture, focusing on the role of details in whole buildings.

Lars Müller Publishers
The Architecture of Closed Worlds: Or, What Is the Power of Shit?
By Lydia Kallipoliti

Analyses of self-sustaining physical environments such as Biosphere and Masdar City accompanied by stunning “feedback drawings.”

Little, Brown
The Man in the Glass House: Philip Johnson, Architect of the Modern Century
By Mark Lamster

Easily one of the best books I read this year: my review.

Laurence King
Hassan Fathy: Earth & Utopia
By Salma Samar Damluji, Viola Bertini

Hassan Fathy’s Architecture for the Poor is a classic and a must for any architect (I’m grateful to have gotten my hands on a first edition at a used bookstore a few years ago). Earth & Utopia is a beautiful tribute to Fathy’s words and buildings, presented as a large-format book with plenty to absorb on every page.

Lund Humphries
The Global Spectacular: Contemporary Museum Architecture in China and the Arabian Peninsula
By Mark Swenarton

Documentation and comparisons of starchitect-designed museums in China and the Arabian peninsula as well as such nearby places as Azerbaijan and India.

The MIT Press
Garage
By Olivia Erlanger, Luis Ortega Govela

A “provocative history and deconstruction” of that appendage to the American house that’s supposed to shelter cars but is often used for other things; a collaborative creation by an artist (Erlanger) and an architect (Ortega Govela).

The Monacelli Press
Le Corbusier: The Built Work
By Richard Pare, Jean-Louis Cohen

A great combination: Around 60 buildings designed by Le Corbusier, photographs by Richard Pare, and words by Jean-Louis Cohen. It’s Pare’s photos that stand out, drawing attention to the varied states of Corbusier’s buildings.

The Museum of Modern Art
Oasis in the City: The Abby Aldrich Rockefeller Sculpture Garden at The Museum of Modern Art
Edited by Peter Reed, Romy Silver-Kohn

Philip Johnson’s great sculpture garden at MoMA turned 75 this year. This coffee table book celebrates the “oasis” in Midtown Manhattan, just as MoMA transforms itself through another architectural expansion.

nai010 Publishers
Too Big: Rebuild by Design’s Transformative Response to Climate Change
By Henk Ovink, Jelte Boeijenga

Rebuild by Design is an innovative process for creating resilient cities and coastlines, born from Hurricane Sandy in 2012. This book documents the process and the various designs in the works around the USA.

New York Review Books
Makers of Modern Architecture, Volume III: From Antoni Gaudí to Maya Lin
By Martin Filler

The latest collection of architecture critic Martin Filler’s “reassessments” of significant modern architects — all originally published in NYRB — spans from Frederick Law Olmsted to Maya Lin, with roughly 20 more architects in between.

ORO Editions
The Work of Machado & Silvetti
By Javier Cenicacelaya, Iñigo Saloña

I’ve been a fan of the built and unbuilt “unprecedented realism” (the name of their 1996 monograph) of Rodolfo Machado and Jorge Silvetti since at least the mid-1990s. This monograph collects projects designed by the duo over the last four decades.

Park Books
House Tour: Views of the Unfurnished Interior
Edited by Adam Jasper

The official publication of the Swiss Pavilion at the 2018 Venice Architecture Biennale, winner of the Golden Lion for best National Participation. The labyrinth of empty apartments at various scales drew attention to the literal emptiness of photos of residential architecture in Switzerland.

Phaidon
Drawing Architecture
By Phaidon Editors

Although Phaidon’s one-page-per (building, garden, etc.) format is a bit formulaic and inherently shallow, sometimes the subject makes one of these titles irresistible. For me, it’s architectural drawings by Zaha Hadid, Roberto Burle Marx, and many more.

Prestel
Modern Spaces: A Subjective Atlas of 20th-Century Interiors
By Nicolas Grospierre

French-Polish photographer Nicolas Grospierre captures the interiors of buildings “both grand and mundane,” most I was completely unaware of. The photos are presented as pairs with similar spaces and characteristics but divergent uses and geographies.

Princeton Architectural Press
Studio Joy Works
By Rick Joy

The sequel to Rick Joy’s Desert Works presents 13 projects completed by the architect in the last 15 years, many outside his home state of Arizona. Beautiful photographs make this monograph, just like his first one, a must.

Rizzoli
Steven Holl: Seven Houses
By Steven Holl

Sub-subtitled “Luminist Architecture,” this handsome, slipcased book documents seven Steven Holl houses completed over the last twenty years, some of them on the architect’s own property north of New York City.

Routledge
Life Takes Place: Phenomenology, Lifeworlds, and Place Making
By David Seamon

An academic title on phenomenology that argues for the importance of place in our “mobile, hypermodern world.” David Seamon was a professor of mine in undergraduate architecture school at K-State, so I’m looking forward to diving into his latest book.

Scheidegger and Spiess
Peter Zumthor Talks About His Work: A Biographic Collage
By Christoph Schaub

One of two new titles on Swiss architect Peter Zumthor from Scheidegger and Spiess (here’s the other), this one offers copious insights into the contexts of his work and his self-conception as an artist.” (Note: This title is a DVD, not a book.)

Taschen
Rem Koolhaas: Elements of Architecture
By Rem Koolhaas

Koolhaas updates his 2014 Venice Architecture Biennale exhibition as a 2,528-page behemoth designed by Irma Boom.

Thames & Hudson
Santiago Calatrava: Drawing, Building, Reflecting
By Santiago Calatrava with Cristina Carrillo de Albornoz

I’ve heard of exhibitions on the models that Santiago Calatrava has produced over the years, but lost in the shuffle are his sketches, collected and discussed here relative to his bridges, train stations, and other structures.

Timber Press
GGN: Landscapes 1999-2018
By Thaïsa Way

The first monograph of Gustafson Guthrie Nichol, it contains such landscapes as the Bill & Melinda Gates Foundation Campus in Seattle, the National Museum of African American History and Culture in DC, and the Lurie Garden at Chicago’s Millennium Park.

UCL Press
The Venice Variations: Tracing the Architectural Imagination
By Sophia Psarra

Sophia Psarra paints a portrait of Venice as a prototypical city aided by analyses of Italo Calvino’s classic Invisible Cities and Le Corbusier’s project for Venice Hospital.

University of Virginia Press
Shaping the Postwar Landscape: New Profiles from the Pioneers of American Landscape Design Project
Edited by Charles A. Birnbaum, Scott Craver

The fifth installment in TCLF’s “Pioneers of American Landscape Design” project chronicles the lives and work of important landscape designers in an encyclopedia format. Necessary for landscape designers and those interested in the preservation of modern landscapes.

UR (Urban Research)
Spaces of Disappearance: The Architecture of Extraordinary Rendition
By Jordan H. Carver

Jordan H. Carver, a contributing editor to the Avery Review, has investigated the architectural spaces of secret prisons and taken a look into the post-9/11 spaces via architectural drawings.

W. W. Norton
Historic Preservation, Third Edition: An Introduction to Its History, Principles, and Practice
By Norman Tyler, Ilene R. Tyler, Ted J. Ligibel

The third edition of Historic Preservation comes a couple years after the National Preservation Act of 1966 turned 50. One could argue preservation is even more important now, making this a much-needed introduction to the subject.

Yale University Press
City Unseen: New Visions of an Urban Planet
By Karen C. Seto

The authors of City Unseen reveal that the satellite views of Google Earth aren’t the only way to see the earth from above. They present traditional satellite views with non-visible wavelengths colored to convey more information about cities and landscapes.

Book Review: A Feeling of History

A Feeling of History by Peter Zumthor, Mari Lending
Scheidegger & Spiess, 2018
Paperback, 80 pages

Swiss architect Peter Zumthor finishes buildings so sporadically that the presence of each in various strands of architectural communication lasts years rather than days or weeks. It was five years, for instance, between two recently completed works: the Steilneset Memorial (2011) and the Allmannajuvet Zinc Mining Museum (2016), both in Norway. When I saw Zumthor speak with Paul Goldberger at the Guggenheim in February 2017, these were the two projects Zumthor focused on. In general, discussions around these and other Zumthor projects unfold over time, unlike projects by prolific firms such as BIG or Kengo Kuma Associates, where lots of attention follows an opening, only to give way quickly to the next project’s completion. In turn, Zumthor’s slowness invites interviews — but ones that play out over time rather than ones that take place in one evening like the Guggenheim.

A Feeling of History transcribes a series of conversations between Zumthor and Norwegian architectural historian Mari Lending that took place between September 2014 and August 2017. Not surprisingly, they focus on his two projects in Norway, though primarily the Zinc Mining Museum, which was finished in the middle of their conversations. History as a theme for their talks makes sense, since the museum marks the site of a mine that operated in the last half of the 19th century. To Zumthor, “landscapes are historical documents” that exhibit the traces of use; Zumthor then “can try to read and interpret the place” where he designs. At Allmannajuvet gorge, the small pavilions are subsidiary to the landscape, though they contain artifacts that explain certain aspects of the mine’s history that the landscape cannot.

This small book consists of insights into Zumthor’s design of the Zinc Mining Museum, but Lending also delves back in time to trace when and how Zumthor developed his approach to history. So the book is as much biography as project narrative, meandering around to paint a portrait of Zumthor and one of his projects. Free of illustrations, the conversations are accompanied by photos from Hélène Binet’s photo essay on Dimitris Pikionis’s Landscape around the Athens Acropolis. The b/w photographs by Zumthor’s frequent collaborator are not mentioned in the interviews, though Zumthor describes Pikionis’s project at the back of the book as “grounded” and having “a specific connection with the history of the place.” So the parallels between his work and Pikionis’s stone pathways are clear, even though the project types diverge and there is a considerable geographic distance between Norway and Greece.

Book Briefs #39: More Biennale Publications

“Book Briefs” are an ongoing series of posts with short first-hand descriptions of some of the numerous books that make their way into my library. These briefs are not full-blown reviews (though some might go on to get that treatment), but they are a way to share more books worthy of attention than find their way into reviews on this blog

On Sunday, November 25th, the 2018 Venice Architecture Biennale wraps up its six-month run. Back in June I featured a half-dozen publications, including the main catalog, from my visit to the Biennale when it opened in May. Not all exhibition catalogs were available at the time, so here are a few that followed (with one from the 2016 Biennale): on the Australian, Chinese, Catalan, and Spanish pavilions.

Repair: Australian Pavilion, 16th International Architecture Exhibition, La Biennale di Venezia 2018 edited by Mauro Baracco, Louise Wright | Actar | 2018 | Amazon / IndieBound
How does one translate an exhibition or installation into book form? It’s a particularly pertinent question for the Australian Pavilion, one of my favorite pavilions from this year’s Biennale. Called Repair, the pavilion focuses on the role of architecture in repairing natural systems and generally creating “good” environments. Baracco+Wright Architects, with Linda Tegg, filled the pavilion in the Giardini with transplanted grasslands, drawings attention to the threatened plant community in Australia. Accompanying the plants are lights that enable the plants to thrive indoors and Tegg’s short films about buildings projected on the walls when the lights are down. It’s a highly immersive exhibit that involves sight but also movement, touch, thermal comfort, and interactions with others exploring the planted interior.

Baracco and Wright didn’t strive to create a catalog to the pavilion. They used it to go beyond “the limitations of exhibition” and unpack the Repair theme “through the diverse lens” of their team and some invited authors. Essays and interviews make up the first half of the book; strands of ecological thinking and indigenous culture permeate these texts. Following them are fifteen projects as well as more information on the Repair exhibition’s design and realization. The projects are documented fairly traditionally, but they do include stills from Tegg’s videos, linking the book and exhibition. My favorite project is the oldest one: Robin Boyd’s Featherston House from 1967. Boyd brought nature indoors, creating a series of platforms over the sloping landscape and beneath the translucent roof: a clear precedent for Repair‘s transplanted landscape.

Architecture China: Building a Future Countryside by Li Xiangning, Mo Wanli, Rebecca Gros | Images Publishing | 2018 | Amazon / IndieBound
Another 2018 favorite, the Chinese Pavilion, (located at one end of the Arsenale), focuses on the rural, presenting many projects that run counter to the common view of China as the land of “weird” contemporary architecture. These are my kind of projects: AZL’s Internet Conference Center, Rural Urban Framework’s Angdong Hospital, Vector Architects’ Captain’s House, and other buildings that fit sensitively into their contexts rather than standing out from them, screaming for attention. The catalog documents many such projects (most built) in six typological categories (dwellings, production, cultural, etc.) plus the same number of installations built especially for the exhibition.

RCR Dream and Nature: Catalonia in Venice by Pati Núñez, Estel Ortega | Actar | 2018 | Amazon / IndieBound
Each Venice Architecture Biennale is made up of three components: the International Architecture Exhibition, the national pavilions, and collateral events. Since Catalonia is a region of Spain, its contribution falls under the last category. Situated on the island of San Pietro di Castello — halfway between the Giardini and the end of the Arsenale where the Chinese Pavilion is found — the Catalan “pavilion” is removed from the rest of the Biennale. In turn, the 2018 contribution is an immersive installation that further removes visitors from the exhibition and the city to express how Pritzker Prize-winning RCR (the trio of Rafael Aranda, Carme Pigem, and Ramon Vilalta) views dreams and nature in one project: La Vila. In June I described RCR Dreams and Nature as a “somewhat hazy environment crafted from various plastics” with low levels of illumination and videos projected on suspended discs. It’s a tricky exhibition to translate into book form.

The book starts with some color photos of a few RCR projects followed by a handful of essays from the curators and some big names in architecture: Glenn Murcutt, Juhani Pallasmaa, Pedro Gadanho and William J. R. Curtis. The longest essay is by Jordi Pigem (none are very long, since the book is English, Spanish, and Catalan), who looks at the cosmology, or “flowing, creative, dynamic and living process,” of RCR at La Vila. The last half of the book consists of the “visual episodes” that were suspended in the “hazy environment” at the Biennale. Although the circular, bubble-like images are removed from the immersive space, as pages in a book the images allow readers to spend more time with them, poring over the imagery but also the words accompanying them. Even so, these glimpses into the dreams of RCR are still impenetrable at times — as they probably should be.

Unfinished: Ideas, Images, and Projects from the Spanish Pavilion at the 15th Venice Architecture Biennale by Iñaqui Carnicero, Carlos Quintáns | Actar | 2018 | Amazon / IndieBound

Back in 2016, the Spanish Pavilion won the Golden Lion for Best National Participation with Unfinished. The exhibition compiled unfinished projects in order to provoke reflection on how Spain  had responded to the post-boom real estate crisis. Curators Iñaqui Carnicero and Carlos Quintáns wanted to generate debates on new strategies that have emerged within this period. Accordingly, some of the images were mounted on an armature that would raise to facilitate presentations and discussions. What stood out for me were projects like the Restoration of the Old Church of Corbera D’Ebre, which consisted of an ETFE roof over the ruins of the old church. This and other projects are documented in the book through photos and drawings, making up about half of the catalog, with the rest featuring photographic responses to the crisis, essays by some Spanish critics (unfortunately bios are not included in the book), and interviews with architectural voices from outside of Spain (Barry Bergdoll, Kenneth Frampton, Sou Fujimoto, Martino Stierli, etc.). Like the Chinese Pavilion, Unfinished veers away from the high-profile projects that garnered the most attention but detracted from the more sensible solutions born from history and crisis.

Three Exhibitions to See Now in NYC

Archive and Artifact: The Virtual and the Physical
October 23 – December 1, 2018
The Cooper Union, Foundation Building
7 East 7th Street


Archive and Artifact “celebrates The Irwin S. Chanin School of Architecture’s experimental and influential pedagogy by presenting undergraduate Thesis projects completed at the school over the past 50 years.” The show, in Cooper Union’s Foundation Building, includes some big names (Elizabeth Diller, Daniel Libeskind, Stan Allen) but mostly people who didn’t go on to such familiarity. Of course, the show isn’t merely a before-they-were-famous peek at the student work of architects; it is an expression of the influence of founding School of Architecture dean John Hejduk (1975-2000) as well as how Anthony Vidler (2001-2013) and Nader Tehrani (2015-present) have carried on that legacy. This is a great show for fans of “physical” hand drawings and hand-built models. The “virtual” aspect of the show is found in an online database of nearly “8,500 digitized records” accessed via computer terminals in the gallery; unfortunately they weren’t working when I visited.

The exhibition wraps up on Saturday, December 1st, with a symposium, Thesis Now, that will “address the agency, relevance, and history of the thesis studio in architecture curricula.”

Close to the Edge: The Birth of Hip-Hop Architecture
October 1, 2018 – January 12, 2019
Center for Architecture
536 LaGuardia Place


Not far from Cooper Union is the Center for Architecture and Close to the Edge. Curated by Sekou Cooke (with graphic design by WSDIA and graffiti by Chino), the two-floor exhibition displays the work of students, academics, and practitioners at the center of what Cooke calls an “emerging architectural revolution” that incorporates the elements of hip-hop: deejaying, emceeing, b-boying, and graffiti. Hip-Hop Architecture, to Cooke, “produces spaces, buildings, and environments that embody the creative energy evident in these means of hip-hop expression.” The exhibition design immerses visitors in a saturated black-and-white realm of graffiti and infrastructure (cut-up shipping containers) that serve as the backdrop for architectural designs, many of them colorful. Many of the projects remind me of Deconstruction, from my days as an undergraduate architecture student, but the intellectual backbone of so-called Hip-Hop Architecture is less obtuse; in turn it comes across as a lot more fun and accessible.

Paul Rudolph: The Personal Laboratory
October 4 – December 15, 2018
The Modulightor Building
246 East 58th Street


An exhibition on Paul Rudolph’s Hong Kong projects doesn’t open at the Center for Architecture until the end of this month, so in the meantime fans of the 20th-century master need to head uptown to the Modulightor Building where Paul Rudolph: The Personal Laboratory is on display. The show focuses on three residences Rudolph designed for himself, one in New Haven, Connecticut, from his days as head of the Yale School of Architecture, and two in NYC, where he later lived and worked. 23 Beekman Place is the most famous of the two Manhattan projects (the trace-paper photomontages he made to gain city approval for the four-story penthouse addition are alone worth a visit), but the Modulightor Building is the one that really shines. Although the Modulightor, like the others, is documented with drawings, photos, and other artifacts, it’s the experience of traversing two posthumously built floors of the building – with its narrow, floating stairs, indirect lighting, and surprisingly comfortable Plexiglas chairs (for watching a half-hour documentary on Rudolph) – that make this exhibition a must.

Book Review: The Man in the Glass House

The Man in the Glass House: Philip Johnson, Architect of the Modern Century by Mark Lamster
Little Brown, 2018
Hardcover, 528 pages

Mark Lamster had me in the Prologue. The Dallas Morning News architecture critic begins his biography of Philip Johnson on the famous architect’s death bed. Like his iconic Glass House from 1949, Johnson’s life was full of myth, arising from his architecture, his words, and his actions — all of them controversial throughout his many decades. But Lamster opens The Man in the Glass House by focusing on Johnson’s humanity: his ill health, his difficulty in eating, the list of drugs he took to prolong his life, the tai chi master that came to the house a few days a week. When Johnson dies on the last page of the Prologue, I actually shed a tear; not out of sadness for Johnson’s passing, which happened in January 2005 just shy of his 99th birthday, but because of Lamster’s sensitive and eloquent portrayal of it. The Prologue’s seven pages were enough to draw me into Lamster’s telling of Johnson’s life over the next 528 pages.

The Man in the Glass House is not the first biography on Philip Johnson (1906-2005). That honor goes to Franz Schulze, whose Philip Johnson: Life and Work came out in 1994. A decade before his authorized biography of Johnson, Schulze wrote “a critical biography” of Mies van der Rohe, one that was updated (with Edward Windhorst) in 2013. No update of his biography of Johnson occurred, though if Lamster’s book is any indication that’s for the best. Lamster doesn’t bring up Schulze’s book until the second-to-last chapter (befitting its timing in the chronology of Johnson’s life), but he recounts that Johnson was upset with Schulze’s tellings. There were various reasons behind this, but most illuminating is that Johnson though his personality didn’t show: “I’m not there.” Although I own Schulze’s book, I’ve only dipped into it here and there in regards to particular projects; while I can’t corroborate Johnson’s reading of the book, Lamster’s book lacks that deficiency: Johnson is there, warts and all.

Between the Prologue and Epilogue — the latter manages to insert the “Save AT&T” campaign following a developer’s 2017 plans to disfigure the Postmodern icon — Lamster tells the story of Johnson’s life across seventeen chapters. He delves deep into Johnson’s early life, such that by the middle chapter (“A New New Beginning”) Johnson isn’t yet 40 years old. By that point we have seen how the Ohio native toyed with humanities and philosophy and ended up in architecture; how he toyed — less playfully — with fascism; how a bad first impression with the MoMA board failed to derail him becoming the museum’s first architecture director; and how he returned to Harvard in his thirties to become an architect. Lamster’s deep, deep research means these and other happenings in Johnson’s life are illuminated with facts and stories that humanize the myths, that make them real parts of a real life. That the stories of Johnson’s long yet busy life are told in a way that makes the book hard to put down surely doesn’t hurt.

One of the most interesting aspects of Lamster’s biography is the recurring presence of architecture critics in the latter half of the book (when Johnson’s buildings are given nearly as many words as his life), primarily those at the New York Times from the 1960s to the 1990s: Ada Louise Huxtable, Paul Goldberger, and Herbert Muschamp. Johnson’s knack for finding talent, making relationships, and keeping his friends (and sometimes enemies) close to him meant that reviews of even his barely mediocre buildings were met with some praise, albeit tempered at times. Lamster, who wrote his book a decade after Johnson’s passing, obviously isn’t in the same situation and therefore doesn’t hold back with his negative opinions on certain projects. But his takes on the Times critics reveal the central role of power in Johnson’s life: what pushed him on his fascist detour, made him the ideal architect for corporate America, and enabled him to mount an influential MoMA exhibition at the age of 82, more than 50 years after his first groundbreaking show there. It’s one of the many traits that made him the ideal subject of another biography — one thoroughly and beautifully told by Lamster.

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Stop the Presses!

Seeing a TV commercial for Verzenio the other day, I was reminded of that day I made the cover of my local newspaper after getting an architectural commission.

Oh, wait. That never happened. Because architects DON’T MAKE IT ON THE FRONT PAGE OF NEWSPAPERS! Much less above the fold – and with a photo, a smiling photo.

Sure, there are exceptions: your name is Frank Gehry; the newspaper is The Architect’s Newspaper; or the design contract being awarded is the most coveted one in the entire world, and you’re a young architect from a small “central community” nobody’s ever heard of. In that case, this example of architectural advertising is, unlike others, spot-on.