The British architect James Frazer Stirling (1924–1992) stimulated impassioned responses among both supporters and detractors, and he continues to be the subject of fierce debate. He earned international renown through such innovative—and frequently controversial—projects as the Leicester University Engineering Building (1959–63); the History Faculty building at Cambridge University (1964–67); the Neue Staatsgalerie, Stuttgart (1977–84); the Clore Gallery at Tate Britain (1984); and the Arthur M. Sackler Museum at Harvard University (1979–84). Stirling was also a visiting professor at the Yale School of Architecture, where he trained and influenced many of the current leaders in the field. Fully illustrated with previously unpublished documents and new photography from the James Stirling/Michael Wilford Archive at the Canadian Centre for Architecture, Montreal, this book allows for a close examination of design drawings, photographs, and models spanning Stirling’s entire career. These materials deepen our understanding of the influences, early formation, approach, and process of an architect whose work resists labeling. Filled with in-depth analytical and critical presentations of exemplary projects and their reception, the volume reveals Stirling to be a remarkably informed and consistent thinker and writer on architecture.

Sir James Stirling was arguably the greatest British architect of the twentieth century. This book provides the most comprehensive critical survey of Stirling's work to date, charting the development of his ideas from his formative years, through his partnership with James Gowan, on to his period in practice as sole partner; and finally, his partnership with Michael Wilford. Using archival material, extensive interviews with his partners and others who worked for him, together with analytical examination of key buildings, this detailed critical examination explains his philosophy, working method and design strategy. In doing so, it sheds new light on the atelier structure of his office and who did what on his major buildings. Geoffrey Baker is the first to analyse in depth the articulation systems used in major projects undertaken by Stirling. He confirms that the Staatsgalerie complex at Stuttgart does not demonstrate Stirling's interest in post modernism but rather an enhanced sensitivity towards context informed by his growing allegiance to the classical canon. Baker explains how this important development in his work, powerfully influenced by Karl Friedrich Schinkel, is consummated in perhaps the finest of Stirling's uncompleted works, the extension to London's National Gallery. In a discussion of his mature works, Baker explains how Stirling's work can be understood in terms of several interconnected ideas. These include surrealism, historicism, myth and metaphor, inconsistency and ambiguity, bi-lateral symmetry, the garden, rusticity and arcadia, and the archetype, seen as the repository of the collective architectural memory. As well as discussing his interests and those who influenced Stirling, the book compares his oeuvre with that of the pioneers of modern architecture, Mies van der Rohe, Frank Lloyd Wright, Alvar Aalto and Le Corbusier. This book charts a remarkable career, and offers invaluable insights not only into the masterly, timeless architecture, but also into the man himself: charismatic, irreverent, courageous, serious; sometimes rude, often stubborn, belligerent, yet gentle. He was endlessly inventive and deeply dedicated to his art, producing buildings that reflect all of the above, buildings that are magnificent and ultimately humane.

Previously unpublished writings by and about James Stirling (1924-1992), arguably the most influential and controversial post-war British architect.

Introduction -- Formulas, free plans, and a Piranesian city -- Third generation -- Junk, bunk, and tomorrow -- The cube and the pile-up -- The uses of nostalgia -- The mechanical hobgoblin -- Aftermath.

James Stirling (1920-1992) was one of the most influential figures of contemporary architecture. From the 1950s on - later in cooperation with his partner Michael Wilford, born in 1938 - Stirling conceived numerous projects in which a historic sensibility was combined with a creative architectural vocabulary. The practice achieved wide renown with the designs for the Stuttgart State Gallery, The London Tate Gallery extension, and the Braun Headquarters in Melsungen. In 1981, Stirling was awarded the Pritzker Prize. Since Michael Wilford's heading of the practice, projects like Temasek Polytechnic in Singapore or the British Embassy in Berlin have drawn considerable attention. This monograph offers a comprehensive survey of the oeuvre of both architects.

James Stirling was one of the most influential architects of the late twentieth century. He established his world-wide reputation in the 1960s while still in partnership with James Gowan, and his strong personal style is first seen to emerge in the extraordinary Leicester University Engineering Building, the last project to be completed by the partnership. Its slender, almost transparent, tower rises above the projecting forms of its wedge-shaped auditoria. This constructivist inspired ensemble is juxtaposed with the industrial toughness of the engineering workshops whose saw-tooth factory glazing cuts across its roof at an acute angle, setting up a powerful and contradictory geometry.

A re-evaluation of three 'red buildings', designed by Jim Stirling: the University of Leicester Engineering Building (and James Gowan), the History Faculty and Library at Cambridge and the residential Florey Building at Queen's College, Oxford. These are buildings much praised by architects, yet hated by the members of the universities that use them. Alan Berman has drawn together essays which put the buildings in their historical context, and which explore both their radical features and their technical failings. In addition, twenty-four of today's most famous architects - including Will Alsop, Norman Foster, Richard MacCormac and Richard Rogers - explain and partly seek to defend, the importance of these radical and controversial buildings. With top contributors and newly commissioned photography, as well as stunning drawings taken from the Jim Stirling archives, this book attempts a serious re-engagement with the continuing debate between modern architects and the public.

The White Goddess is perhaps the finest of Robert Graves's works on the psychological and mythological sources of poetry. In this tapestry of poetic and religious scholarship, Graves explores the stories behind the earliest of European deities—the White Goddess of Birth, Love, and Death—who was worshipped under countless titles. He also uncovers the obscure and mysterious power of "pure poetry" and its peculiar and mythic language.