A monograph on SF-based architects Kuth/Ranieri. The book is organized into three distinct sections. Ila Berman introduces the monograph with her essay, 'Paradoxical Matters', and provides additional text insertions that appear on selected projects throughout the volume.

Whereabouts is a study of eight prominent young North American architecture firms. For the most part working within a vocabulary of late modernism, these firms -- two from each point of the compass -- have been strongly influenced by regional concerns. Shim/Sutcliffe of Toronto and Brian MacKay-Lyons of Nova Scotia stand for the North; from the South are the offices of Rick Joy and Wendell Burnette, both of Phoenix. SHoP, based in New York City, and Wesley Wei, based in Philadelphia, are the firms from the East; Kuth/Ranieri Architecture of San Francisco and Lubowicki/Lanier Architects of El Segundo, California, represent the West. Each design office presents two or three buildings and projects documented with striking photographs as well as beautifully delineated presentation drawings. Three essays illuminate themes of an architecture that is both local and global.

Over the last few decades, a rich and increasingly diverse practice has emerged in the art world that invites the public to touch, enter, and experience the work, whether it is in a gallery, on city streets, or in the landscape. Like architecture, many of these temporary artworks aspire to alter viewers' experience of the environment. An installation is usually the end product for an artist, but for architects it can also be a preliminary step in an ongoing design process. Like paper projects designed in the absence of "real" architecture, installations offer architects another way to engage in issues critical to their practice. Direct experimentation with architecture's material and social dimensions engages the public around issues in the built environment that concern them and expands the ways that architecture can participate in and impact people's everyday lives. The first survey of its kind, Installations by Architects features fifty of the most significant projects from the last twenty-five years by today's most exciting architects, including Anderson Anderson, Philip Beesley, Diller + Scofidio, John Hejduk, Dan Hoffman, and Kuth/Ranieri Architects. Projects are grouped in critical areas of discussion under the themes of tectonics, body, nature, memory, and public space. Each project is supplemented by interviews with the project architects and the discussions of critics and theorists situated within a larger intellectual context. There is no doubt that installations will continue to play a critical role in the practice of architecture. Installations by Architects aims to contribute to the role of installations in sharpening our understanding of the built environment.

Edited by Neeraj Bhatia, Jurgen Mayer H. Text by Robert Levit, Rodolphe el-Khoury, Henry Urbach.

Catherine Slessor, Managing Editor of The Architectural Review, one of the world's leading architectural magazines, is the coordinating editor of this volume. Being at the forefront of design professionals worldwide, her selection of projects has ensured

Doctor Haydock, the resident GP of St. Mary Mead, hopes to cheer up Miss Marple as she recovers from the flu with a little story. The tale revolves around the return of the prodigal son of Major Laxton, the devilishly handsome Harry Laxton. Harry, after leading a life of childish indiscretions and falling head over heels for the village tobacconist’s daughter, has made good and returned to lay claim to his tumbling childhood home and introduce the village to his beautiful new wife. But, the villagers are prone to gossip about young Harry’s past, and one person in particular cannot forgive him for tearing down the old house. Will Miss Marple’s acumen be up to the task of solving the story?

Modern architects broke free from spatial constraints and traditional limits to design houses that were unbound, dynamic, and open.".

Often problematically labeled as “Brutalist” architecture, the concrete buildings that transformed Boston during 1960s and 1970s were conceived with progressive-minded intentions by some of the world’s most influential designers, including Marcel Breuer, Le Corbusier, I. M. Pei, Henry Cobb, Araldo Cossutta, Gerhard Kallmann and Michael McKinnell, Paul Rudolph, Josep Lluís Sert, and The Architects Collaborative. As a worldwide phenomenon, building with concrete represents one of the major architectural movements of the postwar years, but in Boston it was deployed in more numerous and diverse civic, cultural, and academic projects than in any other major U.S. city. After decades of stagnation and corrupt leadership, public investment in Boston in the 1960s catalyzed enormous growth, resulting in a generation of bold buildings that shared a vocabulary of concrete modernism. The period from the 1960 arrival of Edward J. Logue as the powerful and often controversial director of the Boston Redevelopment Authority to the reopening of Quincy Market in 1976 saw Boston as an urban laboratory for the exploration of concrete’s structural and sculptural qualities. What emerged was a vision for the city’s widespread revitalization often referred to as the “New Boston.” Today, when concrete buildings across the nation are in danger of insensitive renovation or demolition, Heroic presents the concrete structures that defined Boston during this remarkable period—from the well-known (Boston City Hall, New England Aquarium, and cornerstones of the Massachusetts Institute of Technology and Harvard University) to the already lost (Mary Otis Stevens and Thomas F. McNulty’s concrete Lincoln House and Studio; Sert, Jackson & Associates’ Martin Luther King Jr. Elementary School)—with hundreds of images; essays by architectural historians Joan Ockman, Lizabeth Cohen, Keith N. Morgan, and Douglass Shand-Tucci; and interviews with a number of the architects themselves. The product of 8 years of research and advocacy, Heroic surveys the intentions and aspirations of this period and considers anew its legacies—both troubled and inspired.