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Waterhouses is about the places the people of Lagos have inhabited, imagined, and made home for the past two centuries. It asks what a house in Lagos is and explores how the answer to that question has been historically constructed and reconstructed in turn with the city’s changing landscapes. Written for historians of African and Atlantic history, scholars and practitioners of urbanism, and anyone looking to make sense of Africa’s most populous metropolis today, the book is an approachable history of how houses and water have formed modern Lagos. The book argues that in the coastlands from which Lagos rose, housing architectures were the single most important social, material, and political instruments for people hoping to contour the city’s landscapes—both its ecology and its image—and its historical course. The forms and meanings of houses in Lagos have shifted dramatically over time and in ways that reveal how power, house making, visual perception, and the environment are entangled in modern cities. The book’s chapters encompass six eras and six waterscapes: sandbars, canals, swamps, lagoons, oceans, and floods. These spaces guide the book’s exploration of how people saw and attempted to remake Lagos’s environs in a process that invariably involved housing architectures. At its core, Lagos is a city built through the materials, relations, and powers contained in the dry, solid, and hospitable spaces of homes, which have long been scarce and culturally celebrated resources in the city’s water-constricted setting. While shelter is integral to any city’s development, houses have been particularly important and sought after in Lagos because of the city’s land shortages and because of the societal influence and physical footprint of traditional Yoruba ilé (family compounds), in which activities were historically organized and centered. Through dozens of maps, photographs, and housing plans found in British and Nigerian archives, this book traces the relationship between Lagos’s residential spaces and its urban landscapes across the rise, fall, and aftermath of British colonization. By showing how Yoruba visions of home—though often forgotten or misunderstood today—coexisted with European notions, Waterhouses offers urban planners, policy makers, and architects ideas for how the definingly human act of inhabiting a place might be grounded in practices of continuous custodianship rather than extractive possession.

Take an intimate journey through the family, history, and architecture of 20 residential treasures in Wisconsin’s Own by M. Caren Connolly and Louis Wasserman. Richly illustrated with the photography of Zane Williams and complemented by historical images and watercolors and line drawings, Wisconsin’s Own profiles the architectural history of state’s most remarkable residences built between 1854 and 1939. The houses are a mix of public and private homes that are representative of varied architectural styles, from an Italianate along the Mississippi River and an interpretation of a sixteenth-century northern Italian villa overlooking Lake Michigan to an Adirondack-style camp in the North Woods and a fourteen-bedroom Georgian Revival mansion on Lake Geneva. Frank Lloyd Wright’s Prairie School is, of course, represented as well with examples by Wright and his mentor Louis Sullivan.
 
Wisconsin’s Own tells the story of the considerable contribution that each of these historic homes have made to American residential architecture. It also answers the questions who built the house, what brought them to Wisconsin, why they selected that particular style, and how it is that this historic home still stands—and shines—today.