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The edition offers a new approach to what Weizman names “documentary architecture," meaning that to write about the history of a building is also to map the world in which it is located.

After the First World War and under the British Mandate, Haifa grew from a small Ottoman port town into a regional metropolis and industrial center around a deep seaport. The city was part of an open space that extended from Cairo to Damascus through Beirut, in a region where Syria, Palestine, and Lebanon were part of the same fluid, interconnected space. During the Second World War, Haifa became a border town. Under French Vichy, the border between Lebanon and Syria ran sixty kilometers to the north and hardened only after the creation of Israel in 1948 and the wars with Lebanon. Haifa’s architectural modernism developed in relation to the city’s geopolitical environment. No building better manifests Haifa’s predicament than the modernist casino building, built in the city’s Bat Galim seafront district.

A priceless material legacy documenting Wallace Rayfield’s life and work on two continents.

In the early 1990s, while cleaning out the barn on his property in Bessemer, Alabama, Allen Durough discovered the remnants of the lifework of African American architect Wallace A. Rayfield, including several hundred of Rayfield’s drawings, floor plans, business advertisements, family portraits, and graphic art pieces. This book gathers that priceless material legacy into a cohesive whole, reproducing 159 illustrations that document Rayfield’s life and work on two continents.

Born in Macon, Georgia, in 1873, Rayfield apprenticed as a young man with the noted architectural firm A. B. Mullet and Company in Washington, DC, before attending Howard University, Pratt Polytechnic Institute, and ultimately graduating with a bachelor of architecture degree from Columbia University. He returned south to teach at the Tuskegee Institute and then to establish W. A. Rayfield & Co., Architects, in Birmingham, Alabama. From there he designed buildings for construction across the south (many by mail order) and even in Africa. Rayfield specialized in church architecture, and many of his designs were for black congregations within the state, most notably the Sixteenth Street Baptist Church in Birmingham. But he also designed schools, office buildings, and private homes. After falling into bankruptcy during the Great Depression, he died in obscurity.

Durough includes catalog-style descriptive entries and illustrations of Rayfield’s designs for six types of structures: residences, churches, schools, commercial buildings, fraternal buildings, and barns. These entries contain location, commissioning data, and brief structural notes, providing a useful resource for architectural historians and preservationists. A listing of the 359 known Rayfield structures detail their locations in 19 states, plan date, building type, and name. Also included is a biographical sketch of Rayfield, an overview of his publications, and a survey of his professional artwork and advertisements.

Forgacs examines the development of the Bauhaus school of architecture and applied design by focusing on the idea of the Bauhaus, rather than on its artefacts. What gave this idea its extraordinary powers of survival? Founded in 1919, with the architect Walter Gropius as its first director, the Bauhaus carried within it the seeds of conflict from the start. The duration of the Bauhaus coincides very nearly with that of the Weimar Republic; the Bauhaus idea - the notion that the artist should be involved in the technological innovations of mechanization and mass production - is a concept that was bound to arouse the most passionate feelings. It is these two strands - personal and political - that Forgacs so cleverly interweaves. The text has been extensively revised since its original publication in Hungarian, and an entirely new chapter has been added on the Bauhaus's Russian analogue, VkhUTEMAS, the Moscow academy of industrial art.

An intellectual history of architectural modernism for an age of rising global inequality and environmental crisis.

The Earth That Modernism Built traces the rise of planetary design to an imperialist discourse about the influence of the earthly environment on humanity. Kenny Cupers argues that to understand how the earth became an object of design, we need to radically shift the terms of analysis. Rather than describing how new design ideas and practices traveled and transformed people and places across the globe, this book interrogates the politics of life and earth underpinning this process. It demonstrates how approaches to modern housing, landscape design, and infrastructure planning are indebted to an understanding of planetary and human ecology fueled by settler colonialism and imperial ambition.

Cupers draws from both canonical and unknown sources and archives in Germany, Namibia, and Poland to situate Wilhelmine and Weimar design projects in an expansive discourse about the relationship between soil, settlement, and race. This reframing reveals connections between colonial officials planning agricultural hinterlands, garden designers proselytizing geopolitical theory, soil researchers turning to folklore, and Bauhaus architects designing modern communities according to functionalist principles. Ultimately, The Earth That Modernism Built shows how the conviction that we can design our way out of environmental crisis is bound to exploitative and divisive ways of inhabiting the earth.

 

Between 1898 and 1909, Frank Lloyd Wright’s residential studio in the idyllic Chicago suburb of Oak Park served as a nontraditional work setting as he matured into a leader in his field and formulized his iconic design ideology. Here, architectural historian Lisa D. Schrenk breaks the myth of Wright as the lone genius and reveals new insights into his early career.
 
With a rich narrative voice and meticulous detail, Schrenk tracks the practice’s evolution: addressing how the studio fit into the Chicago-area design scene; identifying other architects working there and their contributions; and exploring how the suburban setting and the nearby presence of Wright’s family influenced office life. Built as an addition to his 1889 shingle-style home, Wright’s studio was a core site for the ideological development of the prairie house, one of the first truly American forms of residential architecture. Schrenk documents the educational atmosphere of Wright’s office in the context of his developing design ideology, revealing three phases as he transitioned from colleague to leader. This heavily illustrated book includes a detailed discussion of the physical changes Wright made to the building and how they informed his architectural thinking and educational practices. Schrenk also addresses the later transformations of the building, including into an art center in the 1930s, its restoration in the 1970s and 80s, and its current use as a historic house museum.
 
Based on significant original and archival research, including interviews with Wright’s family and others involved in the studio and 180 images, The Oak Park Studio of Frank Lloyd Wright offers the first comprehensive look at the early independent office of one of the world’s most influential architects.