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“Nothing defines California and our nation’s heritage as significantly or emotionally,” says the California Mission Foundation, “as do the twenty-one missions that were founded along the coast from San Diego to Sonoma.” Indeed, the missions collectively represent the state’s most iconic tourist destinations and are touchstones for interpreting its history. Elementary school students today still make model missions evoking the romanticized versions of the 1930s. Does it occur to them or to the tourists that the missions have a dark history? 

California Mission Landscapes is an unprecedented and fascinating history of California mission landscapes from colonial outposts to their reinvention as heritage sites through the late nineteenth and twentieth centuries. Illuminating the deeply political nature of this transformation, Elizabeth Kryder-Reid argues that the designed landscapes have long recast the missions from sites of colonial oppression to aestheticized and nostalgia-drenched monasteries. She investigates how such landscapes have been appropriated in social and political power struggles, particularly in the perpetuation of social inequalities across boundaries of gender, race, class, ethnicity, and religion. California Mission Landscapes demonstrates how the gardens planted in mission courtyards over the past 150 years are not merely anachronistic but have become potent ideological spaces. The transformation of these sites of conquest into physical and metaphoric gardens has reinforced the marginalization of indigenous agency and diminished the contemporary consequences of colonialism. And yet, importantly, this book also points to the potential to create very different visitor experiences than these landscapes currently do.

Despite the wealth of scholarship on California history, until now no book has explored the mission landscapes as an avenue into understanding the politics of the past, tracing the continuum between the Spanish colonial period, emerging American nationalism, and the contemporary heritage industry.

Uncovering injustices built into our everyday surroundings

Callous Objects unearths cases in which cities push homeless people out of public spaces through a combination of policy and strategic design. Robert Rosenberger examines such commonplace devices as garbage cans, fences, signage, and benches—all of which reveal political agendas beneath the surface. Such objects have evolved, through a confluence of design and law, to be open to some uses and closed to others, but always capable of participating in collective ends on a large scale. Rosenberger brings together ideas from the philosophy of technology, social theory, and feminist epistemology to spotlight the widespread anti-homeless ideology built into our communities and enacted in law.

Forerunners: Ideas First is a thought-in-process series of breakthrough digital publications. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.

Long recognized as a Chicago landmark, the Carson Pirie Scott Building also represents a milestone in the development of architecture. The last large commercial structure designed by Louis Sullivan, the Carson building reflected the culmination of the famed architect's career as a creator of tall steel buildings. In this study, Joseph Siry traces the origins of the building's design and analyzes its role in commercial, urban, and architectural history.

At the turn of the twentieth century, West Virginia was in the throes of its formative years as a state. After more than two decades of alternating its government seat between Wheeling and Charleston and the destruction of the Gothic Revival Capitol in Charleston by fire in 1921, a building commission was formed to create a permanent Capitol that would display the young state’s pride, wealth, and sophistication to the entire nation. To achieve these goals, the legislature approved a budget of more than $6.5 million for the design and construction of this statehouse and the Commission appointed by the Governor hired internationally renowned Cass Gilbert as its architect. After much debate, an impressive site along the shore of the Kanawha River in Charleston was selected as its location.

As one of the most influential architects of the early twentieth century, Cass Gilbert is known for structures such as the Woolworth Building, the United States Supreme Court building, and the Minnesota State Capitol. He believed architecture should reflect historic tradition and established social order, and this conservative philosophy is evinced within the classic form and proportions of the West Virginia State Capitol. As one of his final commissions, the West Virginia Capitol, with its golden “dome of majestic proportion,” marble interiors, ornamental reliefs, and rich woodwork, remains a distinguished example of noble simplicity in American architecture.

Cass Gilbert’s West Virginia State Capitol narrates the intricate story behind this architectural feat. Its close examination of the design, construction, and execution of this commission not only reveals the social, political, and financial climate of West Virginia during this period but also provides insight into the cultural importance of this public building. As Cass Gilbert’s design process is traced through unpublished documentation, drawings, and letters from several archives, the over one hundred accompanying photographs—many historical and others newly commissioned for this book—divulge the subtle beauty of the Capitol complex. At the same time, an extensive analysis of historical and contemporary illustrations and primary sources further elucidates the architectural value of this structure.

With welcomes by West Virginia Governor Earl Ray Tomblin and State Senator Brooks F. McCabe, Jr., a prologue by art historians Bernard Schultz and Mary L. Soldo Schultz, and an epilogue by Chad Proudfoot, this revealing and comprehensive study examines the importance of this often overlooked architectural accomplishment, solidifying its significance as a socio-political symbol as well as its place within the history of American public architecture.

When you think of modern architecture, you think of Chicago, the birthplace of the skyscraper, the cradle of twentieth-century American design, and the home of enduring works by such iconic figures as Louis Sullivan, Ludwig Mies van der Rohe, and Frank Lloyd Wright. Idealized through tourism and celebrated in the groves of academe, the city's majestic skyline and landmark buildings remain a living testament to the modern movement.

In Chicago Architecture, Charles Waldheim and Katerina Ruedi Ray revise and offer alternatives to the archetypal story of modern architecture in Chicago. They and an esteemed group of contributors assert that the mythic status of Chicago architecture has distorted our understanding of the historical circumstances in which it was realized. This searching volume illuminates the importance of photographs, books, magazines, and other media in the cultivation of an international audience for Chicago architecture; it explores the pivotal role of real estate developers, finance and insurance sectors, and speculative capital markets in the development of the city itself; and, perhaps most notably, it examines a wide variety of overlooked architectural works and their creators—individuals who did not fit into the dominant modernist narrative.

Offering new insights on Chicago public housing and O'Hare International Airport, on the Columbian Exposition and Marina City, on the city's grid system and the place of women architects in the story of Chicago modernism, and on the subjective experience of living inside Chicago's most well-known buildings, Chicago Architecture is a work of enormous scope and vision—a book as heady and towering as the skyline it considers.

In March 2020, architect Ryan Chester began drawing the Chicago River for at least one hour every day. Using only a pen, he moved methodically along a single massive roll of paper. As each chaotic, isolating day of the COVID-19 pandemic passed, he stayed connected with his adopted city by carefully documenting by hand the beautiful intricacies of Chicago’s riverfront architecture, boats, and bridges.
 
As completed, Chester’s two-foot-high, fifty-five-foot-long drawing is a unique vision. In addition to dozens of accurately depicted buildings, Chester included pieces of Chicago’s past, including the Union Station Concourse Building that was demolished in 1969 and the immense SS Eastland, which sank in the river in 1915, killing hundreds of people. Recent architecture is featured as well, including Studio Gang’s St. Regis Chicago tower and the Bank of America Tower by Goettsch Partners.
 
An essay by acclaimed writer Thomas Dyja accompanies the accordion-fold presentation of Chester’s drawing, enhancing this remarkable volume that will delight any fan of Chicago, architecture, or art. Chicago Reflected opens up fresh vistas of the stunning, ever-evolving architectural landscape that can be found only in Chicago.

The latest edition of the original and best guide to Chicago architecture for tourists and residents.

 

One of the premier architectural cities of the United States—if not the world—Chicago boasts a breathtaking skyline, dozens of architectural monuments, and a historic legacy few other cities can equal. And it's still growing! Since its first appearance in 1965, Chicago's Famous Buildings has been the standard and bestselling guide to the city's architectural riches. Now thoroughly revised and updated, this fifth edition will remain the leading pocket guide to some of the world's greatest urban architecture.

Chicago's Famous Buildings, fifth edition, completely updated and revised by Franz Schulze and Kevin Harrington, covers more than a decade of extraordinary new architecture and takes a fresh look back at the city's classical legacy of Adler, Sullivan, Burnham, Root, Wright, and Mies van der Rohe. The authors have added many new descriptions and images of the most important projects in Chicago since the fourth edition, including the massive reconstruction of Grant Park around Frank Gehry's Music Pavilion, and they cover as well the current status of older buildings—some destroyed, others, such as Burnham's Reliance Building, marvelously restored and brought back to life. Chicago's Famous Buildings, fifth edition, also includes expanded sections on the city's future and the development of its diverse neighborhoods, presented with new maps to serve as an even more effective walking guide. A glossary of architectural terms, an extensive index, and more than sixty new photographs of both old and new buildings bring this guide completely up-to-date.

Authoritative, informative, and easier to use than ever before, this fifth edition of Chicago's Famous Buildings will serve tourists and residents alike as the leading architectural guide to the treasures of this marvelous city.

Stretching south from 47th Street to the Midway Plaisance and east from Washington Park to the lake’s shore, the historic neighborhood of Hyde Park—Kenwood covers nearly two square miles of Chicago’s south side. At one time a wealthy township outside of the city, this neighborhood has been home to Chicago’s elite for more than one hundred and fifty years, counting among its residents presidents and politicians, scholars, athletes, and fiery religious leaders. Known today for the grand mansions, stately row houses, and elegant apartments that these notables called home, Hyde Park—Kenwood is still one of Chicago’s most prominent locales.

Physically shaped by the Columbian Exposition of 1893 and by the efforts of some of the greatest architects of the nineteenth and twentieth centuries—including Daniel Burnham, Frank Lloyd Wright, Mies Van Der Rohe—this area hosts some of the city’s most spectacular architecture amid lush green space. Tree-lined streets give way to the impressive neogothic buildings that mark the campus of the University of Chicago, and some of the Jazz Age’s swankiest high-rises offer spectacular views of the water and distant downtown skyline.

In Chicago’s Historic Hyde Park, Susan O’Connor Davis offers readers a biography of this distinguished neighborhood, from house to home, and from architect to resident. Along the way, she weaves a fascinating tapestry, describing Hyde Park—Kenwood’s most celebrated structures from the time of Lincoln through the racial upheaval and destructive urban renewal of the 1940s, 50s, and 60s into the preservationist movement of the last thirty-five years. Coupled with hundreds of historical photographs, drawings, and current views, Davis recounts the life stories of these gorgeous buildings—and of the astounding talents that built them. This is architectural history at its best.

Since its opening in the 1920s, Chicago's North Michigan Avenue has been one of the city's most prestigious commerical corridors, lined by some of its most architecturally distinctive business, residential, and hotel buildings. Planned by Daniel Burnham in 1909, the avenue became the principal connecting link between downtown and the wealthy, residential "Gold Coast" north of the Loop. Some thirty buildings were constructed along its path in the ten-year period before the Depression, an urban expansion comparable in significance to that of Pennsylvania and Park Avenues.

John W. Stamper traces the complex development of North Michigan Avenue from the 1880s to the 1920s building boom that solidified its character and economic base, describing the initiation of the planning process by private interests to its execution aided by the city's powerful condemnation and taxation proceedings. He focuses on individual buildings constructed on the avenue, including the Renaissance- and Gothic-inspired Wrigley Building, Tribune Tower, and Drake Hotel, and places them within the context of factors governing their construction—property ownership, financing, zoning laws, design theory, and advertising.

Stamper compares this stylistically diverse mixture of low- and high-rise structures with earlier, rejected planning proposals, all of which had prescribed a uniformly designed, European-like avenue of continuous cornice heights, consistent facade widths, and complementary stylistic features. He analyzes the drastically different character the avenue took by 1930, with high-rise towers reaching thirty stories and beyond, in terms of the clash among economic, political, and architectural interests. His argument—that the discrepancies between the rejected plans and reality illustrate the developers' choice of economic return on their investment over aesthetic community—is extended through to the present avenue and the virtual disregard of the urban qualities proposed at its inception. Generously illustrated, with an epilogue condensing the avenue's history between the end of World War II and the present, this is an exhaustive account of an important topic in the history of modern architecture and city planning.

Cities Made of Boundaries presents the theoretical foundation and concepts for a new social scientific urban morphological mapping method, Boundary Line Type (BLT) mapping. Its vantage is a plea to establish a frame of reference for radically comparative urban studies positioned between geography and archaeology. Based in multidisciplinary social and spatial theory, a critical realist understanding of the boundaries that compose built space is operationalized by a mapping practice utilizing Geographical Information Systems (GIS).
Benjamin N. Vis gives a precise account of how BLT mapping can be applied to detailed historical, reconstructed, contemporary, and archaeological urban plans, exemplified by sixteenth to twenty-first-century Winchester and Classic Maya Chunchucmil. This account demonstrates how the functional and experiential difference between compact western and tropical dispersed cities can be explored.

The methodological development of Cities Made of Boundaries will appeal to readers interested in the comparative social analysis of built environments, and those seeking to expand the evidence-base of design options to structure urban life and development.

Denounced as parasitical under Chairman Mao and devalued by the norms of traditional Chinese ethics, the city now functions as a site of individual and collective identity in China. Cities envelop the countryside, not only geographically and demographically but also in terms of cultural impact. Robin Visser illuminates the cultural dynamics of three decades of radical urban development in China. Interpreting fiction, cinema, visual art, architecture, and urban design, she analyzes how the aesthetics of the urban environment have shaped the emotions and behavior of people and cultures, and how individual and collective images of and practices in the city have produced urban aesthetics. By relating the built environment to culture, Visser situates postsocialist Chinese urban aesthetics within local and global economic and intellectual trends.

In the 1980s, writers, filmmakers, and artists began to probe the contradictions in China’s urbanization policies and rhetoric. Powerful neorealist fiction, cinema, documentaries, paintings, photographs, performances, and installations contrasted forms of glittering urban renewal with the government’s inattention to a livable urban infrastructure. Narratives and images depicting the melancholy urban subject came to illustrate ethical quandaries raised by urban life. Visser relates her analysis of this art to major transformations in urban planning under global neoliberalism, to the development of cultural studies in the Chinese academy, and to ways that specific cities, particularly Beijing and Shanghai, figure in the cultural imagination. Despite the environmental and cultural destruction caused by China’s neoliberal policies, Visser argues for the emergence of a new urban self-awareness, one that offers creative resolutions for the dilemmas of urbanism through new forms of intellectual engagement in society and nascent forms of civic governance.

We live in a self-proclaimed Urban Age, where we celebrate the city as the source of economic prosperity, a nurturer of social and cultural diversity, and a place primed for democracy. We proclaim the city as the fertile ground from which progress will arise. Without cities, we tell ourselves, human civilization would falter and decay. In Cities in the Urban Age, Robert A. Beauregard argues that this line of thinking is not only hyperbolic—it is too celebratory by half.

For Beauregard, the city is a cauldron for four haunting contradictions. First, cities are equally defined by both their wealth and their poverty. Second, cities are simultaneously environmentally destructive and yet promise sustainability. Third, cities encourage rule by political machines and oligarchies, even as they are essentially democratic and at least nominally open to all. And fourth, city life promotes tolerance among disparate groups, even as the friction among them often erupts into violence. Beauregard offers no simple solutions or proposed remedies for these contradictions; indeed, he doesn’t necessarily hold that they need to be resolved, since they are generative of city life. Without these four tensions, cities wouldn’t be cities. Rather, Beauregard argues that only by recognizing these ambiguities and contradictions can we even begin to understand our moral obligations, as well as the clearest paths toward equality, justice, and peace in urban settings.

In this vivid portrait of life in Chicago in the fifty years after the Civil War, Margaret Garb traces the history of the American celebration of home ownership. As the nation moved from an agrarian to an industrialized urban society, the competing visions of capitalists, reformers, and immigrants turned the urban landscape into a testing ground for American values. Neither a natural progression nor an inevitable outcome, the ideal of home ownership emerged from the struggles of industrializing cities. Garb skillfully narrates these struggles, showing how the American infatuation with home ownership left the nation's cities sharply divided along class and racial lines.

Based on research of real estate markets, housing and health reform, and ordinary homeowners—African American and white, affluent and working class—City of American Dreams provides a richly detailed picture of life in one of America's great urban centers. Garb shows that the pursuit of a single-family house set on a tidy yard, commonly seen as the very essence of the American dream, resulted from clashes of interests and decades of struggle.

City of the Soul critically examines how an international cast of visitors fashioned Rome’s image, visual and literary, in the century between 1770 and 1870—from the era of the Grand Tour to the onset of mass tourism. The Eternal City emerges not only as an intensely physical place but also as a romantic idea onto which artists and writers projected their own imaginations and longings. The book will appeal to a wide audience of readers interested in the history of art, architecture, and photography, the Romantic poets, and other writers from Byron to Henry James. It will also attract the interest of historians of urbanism, landscape, and Italy. Nonspecialists and armchair travelers will enjoy the diverse literary and artistic responses to Rome.

"Grady Clay looks hard at the landscape, finding out who built what and why, noticing who participates in a city's success and who gets left in a 'sink,' or depressed (often literally) area. Clay doesn't stay in the city; he looks at industrial towns, truck stops, suburbs—nearly anywhere people live or work. His style is witty and readable, and the book is crammed with illustrations that clarify his points. If I had to pick up one book to guide my observations of the American scene, this would be it."—Sonia Simone, Whole Earth Review

"The emphasis on the informal aspects of city-shaping—topographical, historical, economic and social—does much to counteract the formalist approach to American urban design. Close-Up...should be required reading for anyone wishing to understand Americans and their cities."—Roger Cunliffe, Architectural Review

"Close-Up is a provocative and stimulating book."—Thomas J. Schlereth, Winterthur Portfolio

"Within this coherent string of essays, the urban dweller or observer, as well as the student, will find refreshing strategies for viewing the environmental 'situations' interacting to form a landscape."—Dallas Morning News

"Clay's Close-Up, first published in 1973, is still a key book for looking at the real American city. Too many urban books and guidebooks concentrate on the good parts of the city....Clay looks at all parts of the city, the suburbs, and the places between cities, and develops new terms to describe parts of the built environment—fronts, strips, beats, stacks, sinks, and turf. No one who wants to understand American cities or to describe them, should fail to know this book. The illustrations are of special interest to the guidebook writer."—American Urban Guidenotes

Opera houses were fixtures of Appalachian life from the end of the Civil War through the 1920s. Most towns and cities had at least one opera house during this golden age. Coal mining and railroads brought travelers, money, and change to the region. Many aspects of American life converged in the opera house.

Coal and Culture: Opera Houses in Appalachia is a critical appreciation of the opera house in the coal-mining region of Appalachia from the mid-1860s to the early 1930s. Author William Faricy Condee demonstrates that these were multipurpose facilities that were central to the life of their communities. In the era before radio, movies, television, and malls, these buildings were essential. They housed little, if any, opera, but were used for almost everything else, including traveling theater, concerts, religious events, lectures, commencements, boxing matches, benefits, union meetings, and—if the auditorium had a flat floor—skating and basketball.

The only book on opera houses that stresses their cultural context, Condee’s unique study will interest cultural geographers, scholars of Appalachian studies, and all those who appreciate the gaudy diversity of the American scene.

For years, pundits have trumpeted the earthshattering changes that big data and smart networks will soon bring to our cities. But what if cities have long been built for intelligence, maybe for millennia? In Code and Clay, Data and Dirt Shannon Mattern advances the provocative argument that our urban spaces have been “smart” and mediated for thousands of years.

Offering powerful new ways of thinking about our cities, Code and Clay, Data and Dirt goes far beyond the standard historical concepts of origins, development, revolutions, and the accomplishments of an elite few. Mattern shows that in their architecture, laws, street layouts, and civic knowledge—and through technologies including the telephone, telegraph, radio, printing, writing, and even the human voice—cities have long negotiated a rich exchange between analog and digital, code and clay, data and dirt, ether and ore. 

Mattern’s vivid prose takes readers through a historically and geographically broad range of stories, scenes, and locations, synthesizing a new narrative for our urban spaces. Taking media archaeology to the city’s streets, Code and Clay, Data and Dirt reveals new ways to write our urban, media, and cultural histories.

California would be a different place today without the imprint of Spanish culture and the legacy of Indian civilization. The colonial Spanish missions that dot the coast and foothills between Sonoma and San Diego are relics of a past that transformed California’s landscape and its people.

In a spare and accessible style, Colonial Rosary looks at the complexity of California’s Indian civilization and the social effects of missionary control. While oppressive institutions lasted in California for almost eighty years under the tight reins of royal Spain, the Catholic Church, and the government of Mexico, letters and government documents reveal the missionaries’ genuine concern for the Indian communities they oversaw for their health, spiritual upbringing, and material needs.

With its balanced attention to the variety of sources on the mission period, Colonial Rosary illuminates ongoing debates over the role of the Franciscan missions in the settlement of California.

By sharing the missions’ stories of tragedy and triumph, author Alison Lake underlines the importance of preserving these vestiges of California’s prestatehood period. An illustrated tour of the missions as well as a sensitive record of their impact on California history and culture, Colonial Rosary brings the story of the Spanish missions of California alive.

When the past is painful, as riddled with violence and injustice as it is in postapartheid South Africa, remembrance presents a problem at once practical and ethical: how much of the past to preserve and recollect and how much to erase and forget if the new nation is to ever unify and move forward? The new South Africa’s confrontation of this dilemma is Martin J. Murray’s subject in Commemorating and Forgetting. More broadly, this book explores how collective memory works—how framing events, persons, and places worthy of recognition and honor entails a selective appropriation of the past, not a mastery of history.

How is the historical past made to appear in the present? In addressing these questions, Murray reveals how collective memory is stored and disseminated in architecture, statuary, monuments and memorials, literature, and art—“landscapes of remembrance” that selectively recall and even fabricate history in the service of nation-building. He examines such vehicles of memory in postapartheid South Africa and parses the stories they tell—stories by turn sanitized, distorted, embellished, and compressed. In this analysis, Commemorating and Forgetting marks a critical move toward recognizing how the legacies and impositions of white minority rule, far from being truly past, remain embedded in, intertwined with, and imprinted on the new nation’s here and now.

More than ever, architectural design is seen as a means to promote commercial goals rather than as an end in itself. Frank Gehry’s Guggenheim Museum in Bilbao, for example, simply cannot be considered apart from its intended role as a catalyst for the economic revitalization of Bilbao and its ability to attract tourist dollars, regardless of its architectural merits. A built environment intended to seduce consumers is more likely to offer instant gratification than to invite independent thought and reflection. But how harmful, if at all, is this unprecedented commercialization of architecture? 

Framed with a provocative introduction by Kenneth Frampton, the contributions to Commodification and Spectacle in Architecture stake out a variety of positions in the debate over the extent to which it is possible—or desirable—to escape from, resist, or suggest plausible alternatives to the dominant culture of consumer capitalism. Rejecting any dreamy nostalgia for an idealized present or past in which design is completely divorced from commerce—and, in some cases, celebrating the pleasures of spectacle—the individual essays range from indictments of particular architects and critiques of the profession to broader concerns about what the phenomenon of commodification means for the practice of democracy and the health of society. 

Bringing together an impressive and varied group of critics and practitioners, Commodification and Spectacle in Architecture will help to sharpen the discussion of how design can respond to our hypercommodified culture. 

Contributors: Michael Benedikt, Luis Fernández-Galiano, Thomas Frank, Kevin Ervin Kelley, Daniel Naegele, Rick Poynor, Michael Sorkin, Wouter Vanstiphout. 

William S. Saunders is editor of Harvard Design Magazine and assistant dean for external relations at the Harvard Design School. He is the author of Modern Architecture: Photographs by Ezra Stoller. 

Kenneth Frampton is Ware Professor of Architecture at Columbia University Graduate School of Architecture, Planning, and Preservation and author of many books, including Labour, Work, and Architecture.

From the 1950s to the end of the twentieth century, Boston transformed from a city in freefall into a thriving metropolis, as modern glass skyscrapers sprouted up in the midst of iconic brick rowhouses. After decades of corruption and graft, a new generation of politicians swept into office, seeking to revitalize Boston through large-scale urban renewal projects. The most important of these was a new city hall, which they hoped would project a bold vision of civic participation. The massive Brutalist building that was unveiled in 1962 stands apart—emblematic of the city's rebirth through avant-garde design.

And yet Boston City Hall frequently ranks among the country's ugliest buildings. Concrete Changes seeks to answer a common question for contemporary viewers: How did this happen? In a lively narrative filled with big personalities and newspaper accounts, Brian M. Sirman argues that this structure is more than a symbol of Boston's modernization; it acted as a catalyst for political, social, and economic change.

 

How does architecture make its appearance in civil society? Constitutional Modernism pursues this challenging question by exploring architecture, planning, and law as cultural forces. Analyzing the complex entanglements between these disciplines in the Cuban Republic, Timothy Hyde reveals how architects joined with other professionals and intellectuals in efforts to establish a stable civil society, from the promulgation of a new Cuban Constitution in 1940 up until the Cuban Revolution.

By arguing that constitutionalism was elaborated through architectural principles and practices as well as legal ones, Hyde offers a new view of architectural modernism as a political and social instrument. He contends that constitutionalism produced a decisive confluence of law and architecture, a means for planning the future of Cuba. The importance of architecture in this process is laid bare by Hyde’s thorough scrutiny of a variety of textual, graphical, and physical artifacts. He examines constitutional articles, exhibitions, interviews, master plans, monuments, and other primary materials as acts of design.

Read from the perspective of architectural history, Constitutional Modernism demonstrates how the modernist concepts that developed as an international discourse before the Second World War evolved through interactions with other disciplines into a civil urbanism in Cuba. And read from the perspective of Cuban history, the book explains how not only material products such as buildings and monuments but also the immaterial methods of architecture as a cultural practice produced ideas that had consequential effects on the political circumstances of the nation.

As our world becomes increasingly urbanized, an understanding of the context, mechanisms, and consequences of city and suburban environments becomes more critical. Without a sense of what open spaces such as parks and gardens contribute, it’s difficult to argue for their creation and maintenance: in the face of schools needing resources, roads and sewers needing maintenance, and people suffering at the hands of others, why should cities and counties spend scarce dollars planting trees and preserving parks?

           

In Constructed Climates, ecologist William G. Wilson demonstrates the value of urban green. Focusing specifically on the role of vegetation and trees, Wilson shows the costs and benefits reaped from urban open spaces, from cooler temperatures to better quality ground water—and why it all matters. While Constructed Climates is a work of science, it does not ignore the social component. Wilson looks at low-income areas that have poor vegetation, and shows how enhancing these areas through the planting of community gardens and trees can alleviate social ills. This book will be essential reading for environmentalists and anyone making decisions for the nature and well-being of our cities and citizens.