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Spring 2009

Reviving a living space to flow like light—endlessly, uninterrupted. From Think/Make, p. 33

The sublime beauty of ancient collisions. From Sites of Impact, p. 13

A detail reflecting the natural and the man-made. From Peter Rose: Houses, p. 15

A moment for reflection before an open house. From Dean/Wolf Architects, p. 29

The promise of interactivity—an architecture that adapts to our ever-evolving human needs. From Interactive Architecture, p. 31

Publisher’s Note I showed our recent catalog to a friend whose son is a producer at the popular National Public Radio (and Showtime) program This American Life. “You know,” he told me, “You’re doing the same thing with your books they do at This American Life: telling stories.” I took his observation as a compliment, since I, like millions of others, am a fan of the show and his son’s work there, even though his comment confused me slightly. Our books are primarily visual, and few are directly concerned with “story telling.” As I reflected on it, however, I began to see the parallels; indeed, what is design but story telling, trying to create some order, reason, and (is it OK to say?) even beauty out of the chaos of everyday life? Only one title in this new catalog is, in fact, a work of fiction, Donogoo-Tonka or the Miracles of Science, which tells the tale of explorers who build the lost town they cannot find rather than admit defeat, only to discover gold on the site they choose. But there are as many different ways to tell stories as there are people who tell them: landscape architect Andrea Cochran, for example, writes poems in the landscape, using plants, light, water, and the shape of the ground as her vocabulary. Similarly, architects Peter Rose and Dean/Wolf create narratives out of the traditional architectural lexicon of materials, light, and space. Almost all the remaining books in the catalog are guidebooks of a sort to creating your own stories, your own designs or products or graphic designs. I was recently asked by a magazine to account for the popularity of so many of our recent DIY and craft titles (you’ll see some of these recent bestsellers and others). I conjectured that many of us feel alienated from the stuff of our lives, the food we eat, the places we live, the goods we buy and use, so much of it made elsewhere and by people we don’t know or in ways we’d rather not know about. Writing and producing your own stories, particularly in a day when so much seems beyond our understanding, allows us to regain some control and to make sense out of the mayhem that spins around us every day in so many spheres. I hope you enjoy the stories told by these fascinating new books and, more, that they inspire or help you to craft your own stories, whether in words, type (check out The Handy Book of Artistic Printing,), wood (Edward R. Ford in Five Houses, Ten Details has some thoughts on detailing your designs), plants, and on the computer (see Digital Fabrications).  Whether you’re here to read or to find inspiration for creation, I’m confident you’ll find just the book you’re looking for in the pages that follow.

Kevin C. Lippert, Publisher New York, August, 2008

Princeton Architectural Press Perennials... Complete bibliographic details are highlighted beginning on p41 Drawing from Life

The Guerilla Art Kit 978-1-56898-688-3 $19.95

978-1-56898- 445-2 $25.00

You Are Here 978-1-56898- 430-8 $24.95

Natural Architecture 978-1-56898-721-7 $39.95

A Year in Japan 978-1-56898-540- 4 $19.95

A Year of Mornings 978-1-56898-784 -2 $19.95

Indie Publishing 978-1-56898-760-6 $21.95

Hand Job 978-1-56898-626 -5 $35.00

D.I.Y. 978-1-56898-552-7 $19.95

Leisurama Now 978-1-56898-709-5 $40.00

To Each His Home 978-1-56898-796 -5 $45.00

Handmade Nation 978-1-56898-787-3 $24.95

Spring 2009 P rinceton architectural P ress

11 13 15 16 17 19 21 23 25 26 27 27 29 31 33 34 35 36 37 37 38 39 40

Andrea Cochran Sites of Impact Peter Rose: Houses The Wayfinding Handbook Graphic Design Theory The Handy Book of Artistic Printing Typeface There’s Nothing Funny About Design Bamboo Fences Fresh Dialogue 9 Biopolitics and the Emergence of Modern Architecture Donogoo-Tonka or the Miracles of Science Dean/Wolf Architects Interactive Architecture Think/Make Five Houses, Ten Details Le Corbusier and the Maisons Jaoul Material Discipline Digital Fabrications Young Architects 10 The Liberal Monument University of Toronto Paul Rudolph

41 54 55 58

Complete Backlist Special Markets Index Order Information

Princeton Architectural Press

Jan to design page | 1  800  722  6657


Princeton Architectural Press

Andrea Cochran Landscapes Mary Myers

MAY 2009 10 x 8.5 IN / 25.4 x 21.6 CM 192 PP / 175 COLOR HARDCOVER 978-1-56898-812-2 $50.00 / £ 30.00 / CDN $55.00


9 781568 988122

“Studies in repetition and order, orchestrations of movement in the landscape, and elements placed in geometric conversation,” is how author Mary Myers describes the twenty-five-year career of San Francisco–based landscape architect Andrea Cochran. Poetic language suits these functional and often lyrical works of art. They are sensuous, captivating oases that absorb the eye in a totality of spatial composition. Andrea Cochran: Landscapes presents eleven residential, commercial, and institutional landscape projects in detail, including Walden Studios in Alexander Valley, California; the sculpture garden for the Portland Art Museum in Portland, Oregon; and the award-winning Children’s Garden in San Francisco. Andrea Cochran seeks to put her clients’ individual narratives in conversation with the land. Her work is distinguished by its careful consideration of site, climate, and existing architecture. A stacked plane of planters, each housing a different variety of succulent, mimics the compression found in hills banked against each other in the distance. Drawing on an encyclopedic knowledge of plant species, Cochran uses vegetation to blur edges, and porous and permeable materials to create grade changes that enlighten and disappear. Materials such as COR-TEN steel allow her to draw boundaries on the land with ultrathin edges while also reflecting the earthy tones of the soil beneath. Cochran’s landscapes are clean, but not cold. In her hands, polished black concrete becomes both a quiet reflection of the sky and an instrument to amplify the sound of falling rain; locally quarried stone walls reflect the border walls between valley farms; twisted forms of olive respond to the spreading California oaks dotting distant hills. A combination of harmony, wonder, and surprise awaits wherever her sharp geometry and vibrant plant life meet. Featuring stunning photography, drawings, plans, and an essay by San Francisco Museum of Modern Art curator Henry Urbach, Andrea Cochran: Landscapes celebrates the first twenty-five years of a highly intuitive and reflective creative process. Dr. Mary Myers is chair of the department of Landscape ArchitectureHorticulture at Temple University. She is a registered landscape architect and the author of numerous articles in magazines and journals, including Landscape Journal, Landscape Review, and Landscape Architecture. | 1  800  722  6657

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Princeton Architectural Press

Sites of Impact Meteorite Craters Around the World Stan Gaz

march 2009 10.25 x 13 IN / 26 x 33 CM 144 pP/ 85 B+W hardcover 978-1-56898-815-3 $60.00 / £35.00 / CDN $65.95


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The Earth is pockmarked with the evidence of ancient collisions: huge craters blasted into its surface by thousands of pounds of meteorite fragments traveling at approximately 50,000 miles per hour. Ranging in age from those formed in this century to billion-year-old specimens, the Earth’s meteorite craters are eroding at a rapid pace. The best-preserved impact sites are often difficult to access—buried under ice, obscured by foliage, or baking in desert climes. These desolate landscapes are connected to another place outside of our world, and for photographer Stan Gaz they are sites of pilgrimage—steps in a journey begun as a curious young boy accompanying his father on geological expeditions, and culminating in a six-year journey traveling the globe in search of these sites, much of that time spent leaning his twenty-pound, handheld Hasselblad medium format camera out of an open-sided helicopter. The eighty-five astounding black-and-white photographs collected in Sites of Impact transcend the purely documentary and intersect the sublime. They are large-scale, aerial landscapes infused with a child’s sense of wonder and an adult’s preoccupation with the fragility of life. Like the sites themselves—natural monuments to explosive destruction and concomitant creation—the images speak to the vulnerability of the Earth and the significance of our place in the universe. In addition to photographs of the craters and their surrounding landscapes, Gaz includes photographs of actual meteorites and of his own carefully crafted sculptures that recreate their often dynamic form and mimic their specific mineral content. Anecdotal passages about the artist’s experiences photographing each crater are interspersed with scientific data regarding the crater’s location, age, structure, and condition. An essay by Earth scientist Christian Koeberl summarizes what we know—and do not know—about meteorite impact events, while an essay by photo historian Robert Silberman places Gaz’s pictures within the traditions of landscape photography and the aesthetics of the sublime. Stan Gaz is an artist who works in the media of photography, sculpture, film, and performance. He lives in Brooklyn and is represented by CLAMPART in SoHo. Robert Silberman is a professor of art history at the University of Minnesota. Christian Koeberl is a professor at the University of Vienna, Austria, where he concentrates on interdisciplinary studies of meteorite impact craters. | 1  800  722  6657


Princeton Architectural Press

Peter Rose Houses Peter Rose

july 2009 8 x 10 IN / 20.3 x 25.4 CM 176 pp / 200 color / 50 B+W hardcover 978-1-56898-821- 4 $40.00 / £25.00 / CDN $4 4.00


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Cambridge, Massachusetts–based architect Peter Rose has built on every scale during the first three decades of his practice. High-profile projects, such as his master plan for the Montreal waterfront and his award-winning Canadian Centre for Architecture in Montreal have brought him both public recognition and the respect of his peers. Besides being known for his artisan’s love of solid building materials, craftsmanship, and old-fashioned building methods, it is perhaps no surprise that his residential projects function as laboratories for new ideas. Peter Rose: Houses presents five such houses in complete detail from client collaboration and site evaluation to construction. Rose draws inspiration from the outward simplicity and order of houses of the past but recognizes that their quiet strength depends on a complexity that comes only from thoughtful consideration of site, plan, exterior, and details. Rose insists on a close collaboration with his clients, who come to him because of his reputation for deliberately restrained, livable homes in harmony with the landscape. These residences and second homes—on Martha’s Vineyard, in New York City, Vermont, and Connecticut—are masterful combinations of light, texture, and weight. They are an exquisite fusion of the natural and the man-made, of craft and architecture. Since beginning his practice in 1978, Rose has received numerous awards for residential, institutional, and urban design projects. Rose received a master of architecture degree and bachelor of arts degree from Yale University, and has been adjunct professor of architecture at Harvard University’s Graduate School of Design since 1991. | 1  800  722  6657


Princeton Architectural Press

The Wayfinding Handbook Information Design for Public Places David Gibson

March 2009 7 x 8.5 IN / 17.8 x 21.6 CM 152 PP / 256 color / 5 B+W PAPERBACK 978-1-56898-769-9 $24.95 / £14.99 / CDN $26.95


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Where am I? What can I do here? Where can I go from here? How do I get out of here? Consciously or not, we ask such questions every day as we navigate the places and spaces of our lives. Whether we find ourselves in a museum, hospital, airport, mall, or street in an unfamiliar city, we depend on systems of visual, audible, and tactile cues not only to lead the way, but also to keep us safe. They are the fundamental questions of wayfinding—a process that encompasses both the experience of choosing a path within a built environment and the set of design elements that aid in such a decision. A decade ago, the professional practice of wayfinding design simply involved devising sign systems. Today, the field is much broader and continues to expand to address technological developments—kinetic media, GPS systems, web connectivity, smart materials—as well as cultural changes in areas such as branding and environmental awareness. Similarly, a crossdisciplinary familiarity with graphic, architectural, landscape, interior, industrial, and information design has become an essential requirement of twenty-first-century wayfinding design. The Wayfinding Handbook is an exciting new volume in our acclaimed Design Briefs series. Professional wayfinding designer David Gibson draws on more than thirty years of experience collaborating with architects, planners, developers, managers, and civic leaders to offer an insider’s view of this rapidly evolving discipline. Using real-life examples, Gibson illustrates the way type, color, mapmaking, dimensional forms, material selection, and new media are used to create effective wayfinding systems The Wayfinding Handbook is a complete guide to the discipline, from planning and design to practical considerations, such as setting up teams and managing projects. “Other Voices” sidebars, presented throughout the book, reveal the opinions of experts who plan, manage, and shape wayfinding projects. A comprehensive bibliography and gallery of resources round out what is likely to become the go-to resource for students, professionals, or anyone charged with designing people-friendly, universally accessible environments. As cofounder and managing principal of the graphic design firm Two Twelve Associates, David Gibson has developed environmental graphic design systems for Downtown Baltimore, the City of Chicago Streetscape, Children’s Hospital Boston, Massachusetts General Hospital, Radio City Music Hall, the General Motors Technical Center in Detroit, and numerous other places and organizations. | 1  800  722  6657


Princeton Architectural Press

Graphic Design Theory Readings from the Field Edited by Helen Armstrong, with a foreword by Ellen Lupton

APRIL 2009 7 x 8.5 IN / 17.8 x 21.6 CM 152 pp / 41 color / 32 b+w paperback 978-1-56898-772-9 $24.95 / £14.99 / CDN $26.95


9 781568 987729

sell as well... Design Studies 978-1-56898-586 -2

The titles in our best-selling Design Brief series are highly praised by graphic design students, educators, and professionals worldwide as invaluable resources. Each beautifully designed, affordable volume offers a concise overview of a design fundamental—the hows of design. But as most seasoned designers will tell you, a comprehensive education also requires an understanding of the whys of design practice. Graphic Design Theory presents groundbreaking, primary texts from the most important historical and contemporary design thinkers. From Aleksandr Rodchenko’s “Who We Are: Manifesto of the Constructivist Group” to Kenya Hara’s “Computer Technology and Design,” this essential volume provides the necessary foundation for contemporary critical vocabulary and thought. Graphic Design Theory is organized in three sections: “Creating the Field” traces the evolution of graphic design over the course of the early 1900s, including influential avant-garde ideas of futurism, constructivism, and the Bauhaus; “Building on Success” covers the mid- to late twentieth century and considers the International Style, modernism, and postmodernism; and “Mapping the Future” opens at the end of the last century and includes current discussions on legibility, social responsibility, and new media. Striking color images illustrate each of the movements discussed and demonstrate the ongoing relationship between theory and practice. A brief commentary prefaces each text, providing a cultural and historical framework through which the work can be evaluated. Authors include such influential designers as Herbert Bayer, László Moholy-Nagy, Karl Gerstner, Katherine McCoy, Michael Rock, Lev Manovich, Ellen Lupton, and Lorraine Wild. Additional features include a timeline, glossary, and bibliography for further reading. A must-have survey for graduate and undergraduate courses in design history, theory, and contemporary issues, Graphic Design Theory invites designers and interested readers of all levels to plunge into the world of design discourse. Helen Armstrong teaches in the Department of Art History, Theory, and Criticism at Maryland Institute College of Art (MICA). She is the principal and creative director of Strong Design in Baltimore.

page 53 Graphic Design: THE New Basics 978-1-56898-702-6

page 53 Seventy-Nine Short Essays on Design 978-1-56898-699-9

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Princeton Architectural Press

The Handy Book of Artistic Printing A Collection of Letterpress Examples, with Specimens of Type, Ornament, Corners, Borders, Twisters, Wrinklers, Printer’s Devils, and Other Freaks of Fancy Doug Clouse and Angela Voulangas

march 2009 8 x 10 IN / 21.6 x 27.9 CM 224 pp/185 color/ 12 B+W paperback 978-1-56898-705-7 $40.00 / £23.50 / CDN $4 4.00


9 781568 987057

During the late nineteenth century, letterpress printers, engravers, and lithographers boldly challenged the rational sobriety of traditional design by introducing intricate borders, corner embellishments, quirky typefaces, and exotic imagery. The style was known as “artistic” and was quickly taken up by letterpress printers as the design idiom of choice for advertisements, packaging, and all of the other ephemera occasioned by the rapid expansion of America’s economy. For a while, this commercial style represented the best in popular taste. But just as quickly as this exuberant style was embraced, it fell abruptly out of favor. By century’s end, the ornate bits of artistic printing were tossed into the gutter, and the style itself relegated to the dustbin of history. The rise and fall of this highly embellished idiom, which culminated in its denouncement as aesthetically and morally suspect—“a freak of fancy”—are traced in this, the first comprehensive study devoted to the history of American artistic printing. Authors Douglas Clouse and Angela Voulangas explore the style’s origins in the British Aesthetic Movement and analyze its distinctive features: idiosyncratic color harmonies, eclectic choice of type and ornament, compartmentalized compositional strategies. They also present a landmark portfolio of letterpress printing samples, drawn from some of the most important public and private print archives. More than 150 examples of period ephemera, printers’ own tour de force promotional pieces, and specimens of type and ornament are reproduced, many for the very first time since their initial circulation more than a century ago. The Handy Book of Artistic Printing celebrates a previously berated and today largely forgotten episode of design history—one of increasing interest in light of the recent embrace of ornament by some leading contemporary designers. This book will be of value to graphic designers, but also to fine artists, visual merchandisers, and collectors of ephemera everywhere. Doug Clouse is a New York-based graphic designer and teacher. Angela Voulangas is a freelance writer and designer. | 1  800  722  6657

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Princeton Architectural Press

Typeface Classic Typography for Contemporary Design Tamye Riggs

July 2009 10.25 x 9 IN / 26 x 22.9 CM 256 pp / 400 color paperback 978-1-56898-810-8 $40.00 / CDN $44.00 north america only


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If there is one experience that any graphic designer can relate to, it’s the questfor the perfect typeface. The right typeface communicates the visual essence of the content while enhancing the impact of the overall design. The dozens of type samplers available are often more confusing than helpful, offering hundreds of choices but little guidance. Typeface: Classic Typography for Contemporary Design is a unique sourcebook featuring sixty classic typefaces that continue to resonate with today’s most influential graphic designers. The book is organized using typographic classifications such as sans serif, serif, display, script, and dingbats. Each typeface is presented in detail, including its origin, main characteristics, and uses. The main character set of each type specimen is accompanied by typesheet style examples including technical specifications and non-Latin characters. In addition, Typeface includes a unique feature certain to delight designers: a choice of similar typefaces is given for each font, so that alternatives can be easily compared, taking the stress out of tracking down typefaces. Characteristics such as vertically stressed oblique serifs or abrupt contrasts are highlighted and easily cross-referenced, allowing designers to make educated type choices without having to trawl through the seemingly endless pages of type vendor libraries. Accompanying the main character sets and typesheets are examples of the typefaces in use. Leading practitioners such as Pentagram, karlssonwilker inc., and Why Not Associates provide a working context for each typeface, making Typeface both a fully functional sourcebook and an inspirational showcase of international typographic design. Tamye Riggs is a writer, designer, editor, and events planner specializing in typography and the related arts. She is the executive director of the Society of Typographic Aficionados (S{o}TA) and is coeditor of SOTA’s publication Interrobang. She is editor of Font magazine and a contributor to numerous design publications.

sell as well... Thinking with T ype 978-1-56898- 448-3

page 54 | 1  800  722  6657


Princeton Architectural Press

There’s Nothing Funny About Design David Barringer “. . . no one has ever written about graphic design in quite this way. The title sounds more like a short story, and at times I found myself reading it as though it were a fictional exploration of a designer’s consciousness. When I did, its energy, relentlessness, emotion, and abundance of detail made sense, as did its literary style. Barringer writes entertainingly and has a gift for intricate metaphor . . . Designers who enjoy ambitious writing will find plenty to admire . . . ” —From Rick Poynor’s I.D. Magazine review of “American Mutt Barks in the Yard” (Emigre; 68)

June 2009 6 x 9 IN/15.2 x 22.9 CM 264 pp / 160 B + W PAPERBACK 978-1-56898-828-3 $24.95 / £14.99 / CDN $26.95


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By winning the 2008 Winterhouse Award for Design Writing, David Barringer firmly established himself as the freshest and most interesting writer on the subject. His articles, which have appeared in publications from Print to Emigre, are notable for his strong personal point of view, literary style, and even humor, not always attributes associated with writing about design. In this collection of essays, Barringer’s first, he wonders why drug names have so many X’s in them, ponders the rise of gory DVD covers, and ruminates on his father’s business card collection, pythons, and the human skull— proving again and again that design is everywhere you look for it, (but may not have seen) without the powerful magnifying lens of this talented and exciting observer and writer. David Barringer is an author, freelance writer, graphic designer, photographer, and artist. He grew up in Michigan. He now lives with his family in North Carolina.

sell as well... Seventy-nine Short Essays on Design 978-1-56898-699-9

page 53 | 1  800  722  6657


Princeton Architectural Press | 1  800  722  6657


Princeton Architectural Press

Bamboo Fences Isao Yoshikawa with photographs by Osamu Suzuki

MAy 2009 8 x 9 IN / 20.3 x 22.9 CM 160 PP / 250 COLOR HARDCOVER 978-1-56898-834 - 4 $40.00 / £23.50 / CDN $4 4.00


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Bamboo has emerged as the building material of choice for the twenty-first century. Designers in every field—from architecture to aeronautics—are discovering ever more innovative uses for the miracle plant. Five times stronger than concrete and flexible enough to be woven like silk, bamboo has for millennia been an indispensable necessity of life for cultures around the world. Botanically classified as a grass, it is one of the fastest growing plants on earth. Its abundance and extreme durability have made it a natural choice as the raw material for fences and partitions. Indeed, in Japan, bamboo fence building has become an art form, and endless varieties of bamboo fences exist, from simple picket designs to elaborate fences woven with bamboo branches. Bamboo Fences provides a detailed look at the complex art of bamboo fence design and presents these unique structures in more than 250 photographs and line drawings. Author Isao Yoshikawa gives a brief overview of the history of bamboo fence building in Japan and classifies the different designs by type. A glossary provides an explanation of Japanese fence names and structural terms. Yoshikawa explains how the wide range of fence designs had its origin partly in the full development of the tea ceremony during the sixteenth century, when elegant bamboo fences became important elements of tea ceremony gardens. Bamboo partitions were used in Zen temples, and from there spread to ordinary homes. Many fence styles are named for the temple in which the first of their kind was built. From the widely used “four-eyed fence” (yotsume-gaki) and the fine “raincoat fence” (mino-gaki) to the expensive “spicebush fence” (kuromoji-gaki), the natural color and texture of these exquisite bamboo fences could complement any landscape. Whether you plan to use bamboo to bring privacy to your yard, Zen to your garden, or are just seeking an environmentally friendly alternative to chain-link or wood; the simple beauty of these Japanese bamboo fences is sure to inspire. Isao Yoshikawa is the author of numerous books on landscaping and garden design. He established the Japan Garden Research Association in 1963 and is honorary president of the Suzhou Society for Study of Landscape and Gardens and the Hangzhou Society for Study of Landscape and Gardens, both in China. | 1  800  722  6657


Princeton Architectural Press

Fresh Dialogue 9: In/Visible: Graphic Data Revealed New Voices in Graphic Design AIGA NY Moderated by John Maeda

May 2009 6.5 x 9 IN / 17 x 23 CM 128 pp / 130 color paperback 978-1-56898-816 -0 $16.95 / £9.99 / CDN $18.95


Each year, the New York chapter of the AIGA invites a group of emerging designers to participate in the Fresh Dialogue forum. In/ Visible: Graphic Data Revealed brings together a diverse group of information graphics designers for a lively discussion about the challenges they face visualizing information. Steve Duenes manages the New York Times print and online graphics department; Andrew Kuo attempts to categorize unmeasurable human emotions through meticulous charts and diagrams; Fernanda Viégas of IBM’s Visual Communication Lab is the cocreator of the Many Eyes social website that encourages members to upload, interpret, and revisualize one another’s data. Their discussion, moderated by Rhode Island School of Design president John Maeda, covers a range of current and anticipated trends in visual journalism, including issues such as data integrity and visual ethics, judicious simplicity versus seductive complexity, and the ever-increasing demand for dynamic information. As designers, they share an amazing ability to empower readers by translating complicated data into visual ideas whose understanding we all depend on to make sense of our everyday world. For a complete list of titles in the Fresh Dialogue series, please visit us at

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sell as well... others in the fresh dialogue series

page 54 | 1  800  722  6657


Princeton Architectural Press

Donogoo-Tonka or the Miracles of Science A Cinematographic Tale Jules Romains Translated by Brian Evenson, with an afterword by Joan Ockman

march 2009 5.5 X 8.5 IN / 14 X 21.6 CM 80 PP / 20 COLOR / 20 B+W hardcover 978-1-56898-780- 4 $24.95 / £14.99 / CDN $26.95

Donogoo-Tonka or The Miracles of Science: A Cinematographic Tale is a mock film scenario written by the French novelist Jules Romains. It was first published in book form in 1920, and has never been translated into English. The satirical plot concerns a famous geographer whose academic career is about to be derailed by the revelation that he has invented a city in South America. Through a hilarious sequence of events, a suicidal young man finds a new mission in life by undertaking to found the fictional city, thereby redeeming the error and reputation of the absentminded professor.


Jules Romains (1885–1972) was a French novelist, dramatist, and poet.

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Biopolitics and the Emergence of Modern Architecture Sven-Olov Wallenstein

march 2009 5.5 X 8.5 IN / 14 X 21.6 CM 80 PP / 20 COLOR / 20 B+W hardcover 978-1-56898-785-9 $24.95 / £14.99 / CDN $26.95


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These two volumes are part of the FORuM Project publication series published in association with the Temple Hoyne Buell Center for the Study of American Architecture at Columbia University.

Biopolitics and the Emergence of Modern Architecture concerns the dissolution of the classical paradigm of architecture as imitative form in the context of the French Enlightenment, and analyzes the emergence of a new logic of architecture based on a biopolitical process of subject formation. Wallenstein draws especially on the late work of Michel Foucault for his argument and distinguishes Foucault’s theory of biopolitics from that of Giorgio Agamben. Published shortly after the release of the first English translation of Foucault’s The Birth of Biopolitics, this is the first volume that specifically relates the biopolitical concept to architecture. The book concludes with a pictorial essay on the development over the last two centuries of the modern hospital, a building type that epitomizes the unfolding of this new architectural logic. Sven-Olov Wallenstein teaches philosophy at the Södertörn University College and architectural theory at the Royal Institutute of Technology, both in Stockholm. He is the editor-in-chief of SITE and the author of numerous books and essays on contemporary art, philosophy, and aesthetics. | 1  800  722  6657


Princeton Architectural Press

Dean/Wolf Architects Constructive Continuum Kathryn Dean

august 2009 8 x 10 IN / 20.3 x 25.4 CM 224 PP / 303 COLOR PAPERBACK 978-1-56898-829-0 $40.00 / £25.00 / CDN


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New York City–based Dean/Wolf Architects have been praised for their uncanny ability to turn architectural constraints into powerful generators of form. Since founding their firm in 1991, architects Kathryn Dean and Charles Wolf have completed residential and institutional projects at a variety of scales. Their projects are distinguished by a thought-provoking manipulation of light and space. The firm’s award-winning loft interiors are small-scale wonders precisely crafted from sensuous materials such as concrete, steel, wood, and glass. The Dean/Wolf firm activates these highly resonant materials with deliberately focused light in order to dissolve boundaries of interior and exterior space. For Dean/Wolf, this requires not only a consideration of physical space, but also a psychological engagement between the clients minds and the space they inhabit. Versed in architectural thought and theory, the firm finds aesthetic applications for their investigations into the nature of spatial perception. The architecture that emerges—a mixture of unexpected exterior views and areas for quiet reflection—celebrates both the outgoing and introspective sides of the inhabitants. The firm’s 2007 AIA Honor Award–winning Operable Boundary Townhouse Garden in Brooklyn is one such example. Inside and outside are integrated vis-à-vis a giant, pivoting, steel-framed glass wall and a continuous thirty-foot-long table piercing the wall. With company, the glass wall can be pushed aside allowing the back garden to become an extension of the interior living room. The work of Dean/Wolf Architects is bursting with similar exquisite details and Dean/Wolf Architects showcases twenty-four projects in detail with photographs, drawings, and renderings as well as an introduction by architect Robert McCarter. Kathryn Dean worked at Kohn Pedersen Fox Associates before establishing Dean/Wolf Architects with her husband, Charles Wolf. She is currently director of the graduate program in architecture at the Sam Fox School of Design in Visual Arts at Washington University St. Louis. | 1  800  722  6657

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Princeton Architectural Press

Interactive Architecture Michael Fox and Miles Kemp

august 2009 7 x 9 in / 17.8 x 22.9 cm 256 pp/350 color hardcover 978-1-56898-836 -8 $50.00 / £30.00 / CDN $55.00


9 781568 988368

Every year, a bevy of new phones, games, televisions, and electronic reading devices ride into our lives on a tidal wave of interactive hype. These i-products, while handy, primarily confine their interactivity to the surfaces of screens. Not exactly the kind of “world-changing” transformation we’ve been promised. In Interactive Architecture, authors Michael Fox and Miles Kemp introduce us to a brave new world where design pioneers are busy creating environments that not only facilitate interaction between people, but also actively participate in their own right. These spaces—able to reconfigure themselves in response to human stimuli—will literally change our worlds by addressing our ever-evolving individual, social, and environmental needs. In other words, it’s time to stop asking what architecture is and start asking what it can do. Interactive Architecture is a processes-oriented guide to creating dynamic spaces and objects capable of performing a range of pragmatic and humanistic functions. These complex physical interactions are made possible by the creative fusion of embedded computation (intelligence) with a physical, tangible counterpart (kinetics). A uniquely twenty-first century toolbox and skill set— virtual and physical modeling, sensor technology, CNC fabrication, prototyping, and robotics—necessitates collaboration across many diverse scientific and art-based communities. Interactive Architecture includes contributions from the worlds of architecture, industrial design, computer programming, engineering, and physical computing. These remarkable projects run the gamut in size and complexity. Fullscale built examples include a house in Colorado that programs itself by observing the lifestyle of the inhabitants, and then learns to anticipate and accommodate their needs. Interactive Architecture examines this vanguard movement from all sides, including its sociological and psychological implications as well as its potentially beneficial environmental impact. Michael Fox is a founder and principal of Fox Lin. In 1998, Fox founded the Kinetic Design Group at MIT where he served as director for three years. In 2001, Fox founded ODESCO (Ocean Design Collaborative)in Venice, California, from which the office of Fox Lin has evolved. He has also served as a design team leader for Kitamura Associates in Tokyo, Japan. Miles Kemp is the founder and principal of Variate Labs and Series Design/Build. He is currently developing a number of interface, robotic, and spatial projects in Los Angeles; Washington; DC; New York; Mexico City; Frankfurt; and Munich. He is also a senior user experience designer and information architect for Schematic and the creator of the interactive architecture blog Spatial Robots. | 1  800  722  6657


Princeton Architectural Press

Think/Make Della Valle Bernheimer Andrew Bernheimer and Jared Della Valle

MAy 2009 7.5 X 10 IN / 19.1 X 25.4 CM 192 PP / 245 COLOR PAPERBACK 978-1-56898-781-1 $40.00 / £25.00 / CDN $4 4.00


9 781568 987811

Architecture, the saying goes, is a verb. It’s an ongoing process of creating. For Brooklyn-based architects Jared Della Valle and Andrew Bernheimer it is, more accurately, two verbs: think and make. Two words that, when fused in the work of Della Valle Bernheimer, energize and transform each other—architectural process as a feedback loop. Just a decade into their practice, Della Valle Bernheimer has assembled an impressive body of completed projects. Coveted commissions in New York City include two high-profile condo towers in Chelsea and the renovation of architect Paul Rudolph’s landmark modernist apartment at 23 Beekman Place. Think/Make documents twelve of the firm’s most innovative projects, ranging from residences to public commissions such as Federal Plaza in San Francisco; affordable housing units in the Bronx, New York; a public swimming center in Aalborg, Denmark; and a proposal for the reuse of New York City’s Hudson Yards. Each project in Think/Make covers both aspects of their creative process, often demonstrating that they think both with their minds and their hands; the process is cerebral as well as physical. Thinking about the larger contexts of site and program, as well as about historical precedents, linguistics, and correlations to natural forms and phenomena, Della Valle Bernheimer creates thoughtful, structurally innovative architecture. For the Artreehouse in New Fairfield, Connecticut—designed in collaboration with structural engineer Guy Nordenson—they observed patterns of light filtered through canopies of native tree species and scoured the history of building techniques in the region to design a 5,400-square-foot, locally inspired house. This unique monograph illustrates how personal, associative, and often highly poetic thoughts are made legible in architecture. Andrew Bernheimer and Jared Della Valle founded Della Valle Bernheimer in 1996. They were nominated for the Emerging Voices series by the Architectural League of New York in 2007. | 1  800  722  6657


Princeton Architectural Press

Five Houses, Ten Details Edward R. Ford

august 2009 6 x 9 IN / 15.2 x 22.9 CM 256 PP / 20 color / 100 B+W HARDCOVER 978-1-56898-826 -9 $35.00 / £22.50 / CDN $38.50


9 781568 988269

Edward Ford’s forty years of practicing and teaching architecture have focused on one area: the architectural detail. Yet, despite two hugely influential books (The Details of Modern Architecture, volumes 1 and 2), numerous articles, and lectures given from Vancouver to Vienna, there are two questions Ford has, remarkably, never answered: “What is a detail?” and more importantly, “What is a good detail?” Ford is an architect as well as a writer, so it is not surprising that rather than answering these questions in a third book, he spent six years on the design and construction of a house. Building it was not an exercise in the application of ideas about detail; it was, rather, a mechanism for answering those two simple questions. Five Houses, Ten Details presents five designs—all by Ford, all for himself, all for the same site—only one of which was built. Each unbuilt design evolved or was abandoned for a variety of reasons. Many simply cost too much; others were based on presumptions that proved inaccurate or unproductive. All, to some degree, are present in the final design. Each of the five designs explores a different aspect of architectural detail: how it acts to connect to or disconnect from a site; how it is expressive of material; how it acts to reveal structure; how it articulates the act of construction; and how it can be inconsistent, in a beneficial way, with the remainder of the building. Detail for Ford is not an accessory to architecture but its essence. Each design in Five Houses, Ten Details explores and articulates one aspect—site, structure, material, joinery, or furniture—at the expense of the others. Each architectural exploration leads to a larger understanding of construction and a larger understanding of how details communicate. Woven throughout with historical references and specific examples of his design process, Five Houses, Ten Details is an accessible and at times personal account of one man’s exploration of architectural detail. Edward R. Ford is the author of numerous books on architecture. He is a practicing architect in Charlottesville,Virginia, and associate professor at the University of Virginia School of Architecture. | 1  800  722  6657


Princeton Architectural Press

Le Corbusier and the Maisons Jaoul Caroline Maniaque Benton

july 2009 7.5 x 10 IN / 19.1 x 25.4 CM 176 pp / 122 COLOR / 100 B+W hardcover 978-1-56898-800-9 $40.00 / £25.00 / CDN $4 4.00


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In 1955, just as the world was pigeonholing him as the high priest of modernism, Le Corbusier shocked the architecture world with—of all things—weekend houses. Built of brick, concrete, stone, and timber, the Maisons Jaoul are the antithesis of everything commonly referred to as “Corbusian.” Their surprising scale gives them a magnificent sculptural presence and the uncharacteristically raw materiality of their exteriors—oozing mortar, rough brick—gives them a deliberately crude, almost craftlike, appearance. Le Corbusier himself never explained this radical change in direction, leaving this design a mystery for future generations to decipher. Le Corbusier and the Maisons Jaoul is the first book-length, detailed examination of these lesser-known, yet architecturally significant houses. Built for André Jaoul and his son—and their wives—the Maisons Jaoul encompassed four years of intense design activity. Using previously unpublished sources, author Caroline Maniaque Benton thoroughly captures Le Corbusier’s extraordinary journey of discovery. Valuable insights are gleaned from conversations between clients, draughtsmen, and craftsmen; firsthand documents; and letters in Le Corbusier’s own hand. The Maisons Jaoul emerge as both a fundamental reconsideration of domestic living and a radical reassessment of Le Corbusier’s longstanding commitment to modernism. Opening up his process to collaboration with a Corsican carpenter and a Sardinian mason brought warmth, texture, and a distinct aura of vernacular authenticity to the houses. Le Corbusier and the Maisons Jaoul brings all of the mythic grandeur of these exciting discoveries to life through rare photographs, drawings, ephemera, and plans, and invites those who either admire or dismiss Le Corbusier to reexamine their assumptions and prejudices about the most famous modern architect of the twentieth century. Caroline Maniaque Benton is a Paris-based architect and a professor of architectural history at the Lille School of Architecture in Lille, France. She is currently a visiting scholar at the Canadian Centre for Architecture (CCA) in Montreal and also teaches architectural history at Williams College in Massachusetts. | 1  800  722  6657


Princeton Architectural Press

Digital Fabrications Architectural and Material Techniques Lisa Iwamoto

August 2009 7 x 8.5 IN / 17.8 x 21.6 CM 144 pp / 175 color paperback 978-1-56898-790-3 $24.95 / £14.99 / CDN $26.95


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Architectural pioneers such as Frank Gehry and Greg Lynn introduced the world to the extreme forms made possible by digital fabrication. It is now possible to transfer designs made on a computer to computercontrolled machinery that creates actual building components. This “file to factory” process not only enables architects to realize projects featuring complex or double-curved geometries, but also liberates architects from a dependence on off-the-shelf building components, enabling projects of previously unimaginable complexity. Digital Fabrications, the second volume in our new Architecture Briefs series, celebrates the design ingenuity made possible by digital fabrication techniques. Author Lisa Iwamoto explores the methods architects use to calibrate digital designs with physical forms. The book is organized according to five types of digital fabrication techniques: tessellating, sectioning, folding, contouring, and forming. Projects are shown both in their finished forms and in working drawings, templates, and prototypes, allowing the reader to watch the process of each fantastic construction unfold. Digital Fabrications presents projects designed and built by emerging practices that pioneer techniques and experiment with fabrication processes on a small scale with a do-it-yourself attitude. Featured architects include Ammar Eloueini/DIGIT-AL Studio, Elena Manferdini, Brennan Buck, Michael Meredith/MOS, Office dA, Mafoomby, URBAN A+O, SYSTEM Architects, Andrew Kudless, IwamotoScott, Howeler Yoon, Hitoshi Abe, Chris Bosse, Tom Wiscombe/Emergent, Jeremy Ficca, SPAN, Urban A&O, Gnuform, Heather Roberge, Patterns, and Servo. Lisa Iwamoto is associate professor of architecture at UC Berkeley and a principal of IwamotoScott Architecture.

sell as well... Pamphlet Architecture 27: Tooling 978-1-56898-547-3

page 50 Atlas of Novel Tectonics 978-1-56898-554 -1

page 43 Theorizing a New Agenda for Architecture 978-1-56898-054 -6

page 49 | 1  800  722  6657


Princeton Architectural Press

Material Discipline The Engineering of Life in Material Systems Ciro Najle

forthcoming 6.75 x 9.5 IN /17.1 x 24.1 CM 368 PP / 418 Color / 136 B+W paperback 978-1-56898-831-3 $50.00/ £30.00/ CDN $55.00


What if architects designed as though they were engineers? In Material Discipline, architect and educator Ciro Najle looks at architects who did just that without access to today’s powerful digital tools. Najle elucidates the design approaches and completed works of the celebrated mid-twentieth-century architects Pier Luigi Nervi, Frei Otto, Buckminster Fuller, and Robert Le Ricolais. These studies provide the foundation for a new method of creating building forms by integrating engineering during the conceptual design phase, and using structural analysis software, normally a post-design tool, as a preliminary design tool. Material Discipline is fully illustrated with in-studio-process photographs, computer renderings, engineering software screen shots, and models. Material Discipline is at once a remarkable feat of architectural research and a useful guide to developing one’s own approach to design.

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Ciro Najle is a visiting architecture critic at Cornell University.

Young Architects 10 Resonance The Architectural League of New York

June 2009 5 X 7 IN / 12.7 X 17.8 CM 176 PP / 350 COLOR / 20 B+W PAPERBACK 978-1-56898-809-2 $24.95 / £ 14.99 / CDN $26.95

Resonance is the tenth in an annual series of publications that features the best young practicing architects as selected by the Architectural League of New York in their annual Young Architects competition. Young architects practicing today are working with diversified tools as a result of technological advances in building methodologies, expanded communication networks, and cross-fertilization from other disciplines and industries. Competition entrants were asked to consider whether this increased the potential for architectural ideas to resonate with issues and concerns outside of their discipline. The competition winners—Gage/Clemenceau Architects, PellOverton Architecture R + D, Easton + Combs, Xu Tiantian, Project Open, and RVTR—each incorporated variations of the “resonance” to frame their portfolios and demonstrate the necessity for architecture to look outside its disciplinary boundaries for solutions to the global challenges facing the world today.


9 781568 988092 | 1  800  722  6657


Princeton Architectural Press

The Liberal Monument Urban Design and the Late Modern Project Alexander D’Hooghe

August 2009 6.5 x 9.75 IN / 16.5 x 24.8 CM 240 PP / 80 B+W HARDCOVER 978-1-56898-824 -5 $45.00 / £25.00 / CDN $49.95


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Architect Alexander D’Hooghe believes urban design has lost its way. Once among the most articulate and avant-garde of disciplines, the field now lacks, he suggests, the confidence necessary to address its most critical challenge—sprawl. In his provocative manifesto The Liberal Monument, D’Hooghe argues that architecture and urbanism must boldly intervene in city planning and growth management. This strategic use of architecture represents, for him, the last hope to revitalize the “quasi-endless gray carpet” spreading between the world’s urban centers. D’Hooghe’s starting point requires a reassessment of discarded, sometimes disgraced, late-modern theories of placemaking. D’Hooghe points out that the very idea of top-down urban planning and monumentalized space was jettisoned due to its commonly held associations with the monumental neoclassicism and symbolism employed by Nazi architect and urban planner Albert Speer. D’Hooghe respectfully posits that we should not allow this perversion of thought to preclude our own thinking at the scale of urban planning. D’Hooghe travels the world in search of experiments in urbanism and finds—in the ruins of these failed utopias—a way forward. He discovers in the work of “second-generation” modernists Sigfried Giedion and Louis I. Kahn an effort to connect architecture, planning, and liberal politics. This becomes the seed for what he calls “the liberal monument.” The Liberal Monument is a provocative, accessible work of theory that challenges all of the accepted truths of urban design. Its goal is to restore the confidence architecture will need, whether it is building cities from the ground up in China and Dubai or managing the growth of the sprawling suburbs of Phoenix and Raleigh/Durham. Alexander D’Hooghe is an associate professor of architectural urbanism at MIT and director of the MIT Platform for a Permanent Modernity, a research group for design and theoretical investigations into ideal forms of contemporary urbanism. He is also a founding partner of ORG Office for Permanent Modernity, a firm operating in the Netherlands, Belgium, and the United States to impact urban design and research worldwide. | 1  800  722  6657


Princeton Architectural Press

University of Toronto The Campus Guide Larry Wayne Richards with photographs by Tom Arban

june 2009 6.25 x 10 IN / 15.9 x 25.4 CM 224 PP / 175 COLOR / 18 B + W

Organized as a series of walks through the distinctive precincts of the University of Toronto’s three campuses, this architectural guide offers an intimate view of Canada’s largest university. Upper Canada’s first institute of higher education was originally built in the nineteenth century in a pastoral setting outside the city limits. The downtown St. George campus—deeply embedded in Toronto’s dense urban core— serves a community of 70,000 students. One of the highest-ranked universities in the world, it contains some of the finest architecture in Canada, starting with Frederic Cumberland’s masterpiece, the Norman Romanesque–style University College, (1859). Other buildings of note include W. G. Storm’s impressive Romanesquerevival Victoria College building (1892), Darling and Pearson’s Gothic-style Trinity College Building (1925), and Hart House, designed by architects Sproatt and Rolph (1919). In recent years, the university has continued to expand with buildings designed by Sir Norman Foster, Behnisch Architects, KPMB Architects, Diamond and Schmitt, and Pritzker prize­–winner Morphosis, among many others.

PAPERBACK 978-1-56898-719- 4 $29.95 / £17.99 / CDN $32.95

Larry Wayne Richards is professor of architecture at the University of Toronto. Tom Arban is a Toronto-based photographer who specializes in architectural photography.


9 781568 987194 | 1  800  722  6657


Princeton Architectural Press

Paul Rudolph The Florida Houses By Christopher Domin and Joseph King with a new introduction by the authors

NOW AVAIL ABLE 10 x 8 IN / 25.4 x 20.3 CM 248 PP / 150 B+W PAPERBACK 978-1-56898-551-0 $40.00 / £25.00 / CDN $44.00


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Paul Rudolph, one of the twentieth century’s most iconoclastic architects, is best known—and most maligned—for his large “brutalist” buildings, like Yale’s Art and Architecture Building. So it will surprise many to learn that early in his career he developed a series of houses that represent the unrivaled possibilities of a modest American modernism. With their distinctive natural landscapes, local architectural precedents, and exploitation of innovative construction materials, the Florida houses, some eighty projects built between 1946 and 1961, brought modern architectural form into a gracious subtropical world of natural abundance. Like the locally inspired desert houses of another modern master, Albert Frey, Rudolph’s Florida houses represent a distillation and reinterpretation of traditional architectural ideas, developed to a high pitch of stylistic refinement. Paul Rudolph: The Florida Houses reveals all of Rudolph’s early residential work. With Rudolph’s personal essays and renderings, duotone photographs by Ezra Stoller and Joseph Molitor, and insightful text by Joseph King and Christopher Domin—including a brand new introduction with and update on the houses­—this compelling book conveys the lightness, timelessness, strength, materiality, and transcendency of Rudolph’s work. Christopher Domin is an architect and educator living in Tucson, Arizona. He is a professor at the University of Arizona where he teaches design studios along with history and theory seminars that focus on mid-century and contemporary architecture. Joseph King is an architect practicing in Bradenton, Florida. He is a specialist in landscape, development, and design as related to regional issues of sustainability. | 1  800  722  6657


Spring 2009 Catalog  

Princeton Architectural Press Spring 2009 Catalog

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